This double-CD release from Britain's Beat Goes On label should interest anyone who's even slightly serious in appreciating Dan Fogelberg's music. For starters, in the absence of any upgrades since the late '80s in the sound of Sony Music's domestic Fogelberg CDs, the remastering of Souvenirs is more than a little welcome – the man's whole early catalog ought to have been remastered long before 2006, based on the crisp results here and the fresh edge it adds to music that is otherwise extremely familiar. And then there's the contents of the first disc, containing Fogelberg's debut Home Free album, which was not a success at the time of its release. Fogelberg and original producer Norbert Putnam remixed the original multi-track tapes from Home Free when it was time to do the CD release, and issued what was, in effect, a somewhat different album, with instruments shifted around in the mix and alterations in the framing and conceptions of various songs.

Her mountainous stature matching the sheer soulful power of her massive vocal talent, Big Maybelle was one of the premier R&B chanteuses of the 1950s. Her deep, gravelly voice was as singular as her recorded output for Okeh and Savoy, which ranged from down-in-the-alley blues to pop-slanted ballads. In 1967, she even covered ? & the Mysterians' "96 Tears" (it was her final chart appearance). Alleged drug addiction leveled the mighty belter at the premature age of 47, but Maybelle packed a lot of living into her shortened lifespan.

This disc of the complete Piano Trios of Michael Nyman, performed by the Irish Fidelio Trio, is the first volume in a set of the composer's complete chamber music. Each of Nyman's trios has a programmatic element. Poczatek, a world premiere recording, contains five movements derived from Nyman's score to the film of the same name. Its musical material is inspired by classic Polish feature and documentary films of the 50s, 60s and 70s. The Photography of Chance, another world premiere, refers to the re-seeing of industrial reality in early Soviet photography. The trio Yellow Beach is a transfigured version of 'Come Unto These Yellow Sands', from Nyman's score to the film Prospero's Books. Time Will Pronounce was inspired by Joseph Brodsky's poem Bosnia Tune, which deals with the horror of the staggering daily death toll of the Bosnian war in the 1990s.

With an impressive list of artists such as Yes, Rick Wakeman, Keith Emerson, Ian Anderson, Tangerine Dream, Caravan, Soft Machine, Premiata Fornería Marconi and many more, the Progressive Rock Trilogy provides the very best of this extensive genre in an organized fashion. This is without a doubt the most important compilation in the history of progressive rock. It is a must have for both novices to this type of music, which is one of the richest within the rock spectrum, and also for informed listeners who will be drawn to the classic hits and artists as well as hard to find gems like the A and B side of the single Ultima Thule by Tangerine Dream.

Stevie Wonder is a much-beloved American icon and an indisputable genius not only of R&B but popular music in general. Blind virtually since birth, Wonder's heightened awareness of sound helped him create vibrant, colorful music teeming with life and ambition. Nearly everything he recorded bore the stamp of his sunny, joyous positivity; even when he addressed serious racial, social, and spiritual issues (which he did quite often in his prime), or sang about heartbreak and romantic uncertainty, an underlying sense of optimism and hope always seemed to emerge. Much like his inspiration, Ray Charles, Wonder had a voracious appetite for many different kinds of music, and refused to confine himself to any one sound or style. His best records were a richly eclectic brew of soul, funk, rock & roll, sophisticated Broadway/Tin Pan Alley-style pop, jazz, reggae, and African elements – and they weren't just stylistic exercises; Wonder took it all and forged it into his own personal form of expression.

White Nights is a 1985 American musical drama film directed by Taylor Hackford and starring Mikhail Baryshnikov, Gregory Hines, Jerzy Skolimowski, Helen Mirren and Isabella Rossellini. It was choreographed by Twyla Tharp. The title refers to the sunlit summer nights of Leningrad (now Saint Petersburg), the setting for the majority of the film, situated just a few degrees below the Arctic Circle.

Mateo Flecha the elder (1481–1553), better known than his son, composed ensaladas from 1543 to 1548, when he was in charge of music for Maria and Juana, the two daughters of Charles V; his service ended when Maria married her cousin, the future Maximilian II. The form, popular in 16th-century Spain, consisted of a narrative interrupted by quotations of other texts, making up a “salad” that could be varied according to the composer’s taste. They were invariably centered on the themes of Advent and Christmas. Six of these works have been available on disc in multiple versions, notably collections by Paul van Nevel La justa tells the story of redemption as a knightly tournament in which Lucifer defeats Adam and in turn is overcome by the newborn Savior.

Les trois oeuvres enregistrées ici sont "Tombeau de M. de Lulli" (1695), "Les Caractères de la Danse" (1715) & "Les Elémens" (1737). La première est un vibrant hommage à celui qui fut le "mentor" de Rebel. Ecrite pour ensemble instrumental, cette pièce aux caractères changeants adopte une ritournelle déchirante qui réapparait entre chaque mouvements rapides. Les deux dernières sont des "symphonies chorégraphiques" où les mouvements de danses ont une place de choix (notamment dans les "Caractères de la Danse" ; le public de l'époque était friand de ces pièces ("Courante", "Chaconne", "Rigaudon", "Passepied"…)). Le "Prélude" des "Elémens" est une représentation du "Chaos", dont le tout premier accord est une des pages les plus célèbres de son auteur.

Johann Pachelbel (1653-1706) was a prominent composer and organist of his era. While working at the Eisenbach court in Thüringen, he became a close friend of J.S. Bach's father, Johann Ambrosius Bach. As a parish musician, Pachelbel wrote most of his music for church services, especially for Mass and Vespers, when both singers and instrumentalists took part. His instrumental accompaniments are unusually rich. Although much of Pachelbel's music is lost, around twenty-six motets; nineteen "spiritual songs;" and thirteen Magnificats, geistliche Konzerte, and Masses have survived.

After devoting a disc to sonatas by Giuseppe Tartini, for this anniversary year of the illustrious Paduan virtuoso, Evgeny Sviridov offers us a recording of violin concertos. This is his first collaboration with Millenium Orchestra, the ensemble founded by Leonardo García Alarcón in the framework of CAVEMA in Namur. Most of the concertos selected come from manuscript copies made in eighteenth-century Germany, where Tartini's reputation was very high. Evgeny Sviridov has found in these scores cadenzas and ornaments which are very probably in the hand of Johann Georg Pisendel, the great virtuoso violinist of the Dresden court, a friend (and interpreter) of Johann Sebastian Bach!

Bartolomeo Campagnoli was a violinist by training, who worked in the courts and capitals of Baroque-era Europe, with posts in Rome, Dresden and then in Leipzig, where he was leader of the venerable Gewandhaus orchestra. Thus most of his own compositions are for strings, focused on his own instrument, and often with pedagogical or commercial aims in mind, such as the 41 Capricci for solo viola and the 7 Divertimenti for solo violin. There is also an extensive Method - in 132 separate lessons! - which was first published by Ricordi in 1797, and reprinted and translated many times. It was around this time that he wrote the six delightful, serenade-like works on this album, scored for flute and string trio.

The so-called “Anna Maria Partbook” consists of an elegantly bound volume in red leather containing the violin parts of 31 violin concertos, of which 26 are by Antonio Vivaldi. It was the personal repertoire of Vivaldi's most gifted pupil, the famous “Anna Maria della Pietà”, who played also the viola d'amore, the mandolin, the theorbo, and the harpsichord. Anna Maria's partbook represents an extraordinary collection of violin concerts of high virtuosity.

Live at Memorial Sports Arena, Los Angeles, CA, USA 27th January 1989.

Continuing his long-running and highly respected series for Ace, spanning year by year since the germination of his 1966 volume for both Ace and Faber Books, Jon Savage serves us up another of his spectacular insights into popular culture, this time for the years 1983 to 1985. Born out of the ashes of post-punk, there were plenty of experimental singles during the early part of this period: Siouxsie’s ‘Swimming Horses’, Shriekback’s ‘Lined Up’, Soft Cell’s ‘Heat’, Echo & The Bunnymen’s ‘Gods Will Be Gods’, and the Smiths’ ‘Girl Afraid’ – a perfect kitchen sink scenario. Pete Shelley and Scritti Politti went the electronic route to great effect, while the Special AKA delivered the perfect riposte to ‘Hard Times’ (all those ripped jeans) and having fun on the dole with the under-appreciated ‘Bright Lights’.

After 75 million sales; four Grammy Awards; six World Music Awards; an Ivor Novello, an Oscar nomination, a Golden Globe nomination; and seven studio albums (plus the ‘Paint The Sky With Stars’ compilation) which have hit the upper echelons of charts all over the world, Enya will embark upon a new chapter in her spectacular career with the November 20th release of her new album Dark Sky Island. The Enya creative triumvirate – Enya, producer and sound engineer Nicky Ryan, and lyricist Roma Ryan – started work on the album in the spring of 2012. Inspired by Roma’s work on a series of poetry books themed around islands and specifically the island of Sark’s decision to be designated as a dark sky island, the album’s title track was the first song to be written for the collection. The album’s buoyantly optimistic first single ‘Echoes in Rain’ possesses an irresistible surge of globe-trotting euphoria which made it an obvious choice as the album’s lead track. While it shares the adventurous themes of Enya’s breakthrough hit ‘Orinoco Flow’, its rhythmic march instead celebrates the anticipation of a journey’s end. ‘Echoes in Rain’ also shares another coincide with its famous predecessor.