UDY GARLAND: THE LOST VEGAS SHOW . FIRST RELEASE OF JUDY GARLAND’S UNRELEASED, LONG SOUGHT-AFTER LAS VEGAS DEBUT AT THE NEW FRONTIER HOTEL, JULY 16, 1956. HDTT is pleased to present this incredibly rare, never-before-available live recording of the great Judy Garland making her Las Vegas debut in 1956, captured on tape in brilliant monophonic sound and carefully restored in a very high-definition format from the original tape. This recording has been a Holy Grail for Garland collectors and fans for decades, based on long-standing rumors of its existence and especially after the release of one tantalizing track on a 2005 generic compilation devoted to Las Vegas hotel entertainment and mention of a recording of the show in Scott Schechter’s monumental work, Judy Garland: The Day-by-Day Chronicle of a Legend (Cooper Square Press, NYC, 2002).

The first complete overview of Willy Deville's carreer. The three CDs are divided in The Mink DeVille Years, The Willy DeVille years and a rarities Bonus disc.

There are precedents. The Dave Clark Five had hits with two completely different songs called Everybody Knows. Francoise Hardy issued, in three successive years, three LPs entitled simply “Francoise Hardy”. Those of you who have followed the rise and rise of Ace Records for as long as this writer will fondly remember when the label, then still called Chiswick, issued their very first LP, catalogue number CH 1 (which is why, younger readers, Ace issue numbers still bear a CH prefix), entitled “Hollywood Rock’n’Roll”. As it emerged blinking from behind the counter of Rock On in Camden Town, Ted Carroll’s pride in it was plain for all to see. I think he covered most of the shop’s front window with copies of the LP’s sleeve.

Raven presents on unique Double CD, a multi-label career overview of the legendary Los Angeles rock band SPIRIT. Spirit offered a truly innovative approach and presence with a blend of rock and jazz mixed with blues, folk and psychedelic elements. The Best of 1968-1977: Fresh from the Time Coast boasts 43 tracks, over 150 minutes of music and is the first time the best tracks from the band's five albums for Ode/Epic and four albums for Mercury have been combined into one stunning package. Formed in 1967 around teenage guitar prodigy Randy California, keyboardist Jay Ferguson and jazz veteran and bald-headed drummer Ed Cassidy, Spirit hit with the glorious single 'I Got a Line on You' (#25) one of the most recognisable guitar riffs in rock. Also on Disc One are all the other highlights of their five albums for Ode/Epic (Spirit, the Family That Plays Together, Clear, Twelve Dreams of Dr. Sardonicus, Feedback): 'Fresh-Garbage', 'Dream within a Dream', 'Nature's Way', 'Darkness' and 17 other quality songs. The band's run of four albums for Mercury during the 1970s (Spirit of '76, Son of Spirit, Farther Along, Future Games) is well represented on Disc Two with 'Victim of Society', 'Looking into Darkness', 'Farther Along' and 'Stars are Love'. with superb quality audio, detailed liner notes, colour booklet this splendid Double CD is a must for fans of classic rock.

No Earthly Connection is a studio album by English keyboardist Rick Wakeman, released in April 1976 on A&M Records. After touring worldwide in late 1975 in support of his previous studio album The Myths and Legends of King Arthur and the Knights of the Round Table (1975), Wakeman retreated to Herouville, France to record a new studio album with his rock band, the English Rock Ensemble. He based its material on a part fictional and non-fictional autobiographical account of music that incorporates historical, futuristic, and science-fiction themes.

Pertenece a la tercera generación de una familia de notables músicos cubanos. Recibió clases de piano de su madre Zenaida Romeu, de Dirección Coral con la profesora húngara Agnes Kralovszky y de Dirección Orquestal con Gonzalo Romeu, convirtiéndose en 1983 en la primera mujer graduada de Dirección Orquestal en el Instituto Superior de Arte de Cuba.

The Magic Whip is the eighth studio album by the English rock band Blur. It was recorded in Hong Kong and London, and released by Parlophone on 27 April 2015 and Warner Bros. Records on 28 April 2015. It is the band's first studio album since Think Tank (2003), marking the longest gap between two studio albums in Blur's career. The album received universal acclaim from music critics. It debuted at number one the UK Albums Chart, marking Blur's sixth UK number-one album.

This compilation CD has material recorded by Gary Moore between 1977 and 1979, when he was signed under MCA label, and issued on albums and singles either as a solo artist as well as a member of Colosseum II. Four songs: Back On The Streets, Fanatical Fascists, Don't Believe A Word and Parisienne Walkways come from his second solo album titled Back On The Streets, originally issued in december 1978. All these four songs fwature Phil Lynott of Thin Lizzy in a way or another. Back On The Streets has Phil Lynott on backing vocals, Fanatical Fascists was written by Lynott, Don't Believe A Word (a Lizzy song played here in a slower tempo) and Parisienne Walkways have both Lynott on lead vocals. Musicians on these four songs are Gary Moore (guitar and vocals), Phil Lynott (bass and vocals), Don Airey (keyboards), Simon Phillips (drums). Parisienne Walkways has Thin Lizzy's Brian Downey on drums.

Though Cheap Trick's second album, In Color, draws from the same stockpile of Midwestern barroom favorites as their debut album, it was produced by Tom Werman, who had the band strip away their raw attack and replace it with a shiny, radio-ready sound. Consequently, In Color doesn't have the visceral attack of its predecessor, but it still has the same sensibility and a similar set of spectacular songs. From the druggy psychedelia of "Downed" and the bubblegum singalong "I Want You to Want Me" to the "California Girls" homage of "Southern Girls," the album has the same encyclopedic knowledge of rock & roll, as well as the good sense to subvert it with a perverse sense of humor. Portions of the album haven't dated well, simply due to the glossy production, but the songs and music on In Color are as splendid as the band's debut.

While not quite as strong as the band's debut, Scoundrel Days is still a-ha succeeding as a marketed "pretty boy" band which can connect musically and lyrically as much as any musical sacred cow. The opening two songs alone make for one of the best one-two opening punches around: the tense edge of the title track, featuring one of Morten Harket's soaring vocals during the chorus and a crisp, pristine punch in the music, and "The Swing of Things," a moody, elegant number with a beautiful synth/guitar arrangement (plus some fine drumming courtesy of studio pro Michael Sturgis) and utterly lovelorn lyrical sentiments that balance on the edge of being overheated without quite going over. Although the rest of the disc never quite hits as high as the opening, it comes close more often than not.

Formed in 1967 by former Motions guitarist Robbie van Leeuwen, the Dutch quartet Shocking Blue originally had a lineup of VanLeeuwen on guitar, lead vocalist Fred DeWilde, bass player Klaasje Van der Wal, and drummer Cornelius Van der Beek, and the initial configuration of the band had a minor homeland hit with “Lucy Brown Is Back in Town” a year later in 1968. Things really got moving, though, when DeWilde was replaced by sultry singer Mariska Veres, whose sexy presence and solid singing brought the band a second Netherlands hit, “Send Me a Postcard,” and then a huge international smash with “Venus” in 1970 after the group had signed to Jerry Ross' Colossus Records imprint.

West Coast vocalist, guitarist, and songwriter Robert Lucas forged a path for himself in the blues world after the release of his much-hailed 1990 self-produced debut cassette, Across the River. Based in Long Beach, CA, as a solo artist Lucas recorded for the Audioquest label out of San Clemente. He was also a member of the legendary boogie blues band Canned Heat, singing and playing bottleneck guitar and harmonica with the group off and on starting in 1994. Lucas paid homage to traditional blues but also carefully crafted his own singing and slide guitar style. These talents are on ample display on his Audioquest albums, including Luke and the Locomotives, Usin' Man Blues, Built for Comfort, Layaway, and Completely Blue, all released during the '90s, as well as latter-day Canned Heat albums on the Ruf and Fuel 2000 labels.

The magnificent ‘Spiral’ was Vangelis’ third album for RCA Records. Released in 1977, the album was recorded at Nemo, his personal studio in London and was a defining electronic album of the era, with Vangelis demonstrating his total mastery of the synthesizer technology of the period. Pieces such as the majestic ‘To The Unknown Man’ brought electronic music to new dimensions.

One of a series of remastered and sonically enhanced editions of the Vangelis albums recorded for the RCA and Arista labels. All of which come in deluxe digi-pack designs, with masters personally supervised by Vangelis in 2013. The magnificent “Heaven And Hell’ was the first album by Vangelis to be released by RCA Records in 1975 and was also the first album to be recorded at Nemo, his personal studio in London. This epic work in two parts featured the English Chamber Choir (conducted by Guy Protheroe) and Vangelis’ first collaboration with Jon Anderson of Yes on ‘So Long Ago, So Clear’. This Esoteric Recordings release (undertaken with the full approval and supervision of Vangelis himself) features a booklet that restores the original album artwork.

Blu-Spec CD2 reissue; 2022 Remaster. Issued in mini-LP style replica sleeve, with OBI, a color booklet with photos and the original 1988 liner notes in English, and a black-and-white booklet with new liner notes in Japanese. The CD release of Direct includes bonus material – which fits the flow of this intense and dramatic offering – not included on the cassette or vinyl releases. Like most Vangelis, this defies categorization. It has strong elements of rock & roll, symphonic synth ambience, and new age instrumental aspects. At the same time, the bold synthesizer strokes and washes fit the Berlin school of electronica. Given Vangelis' proclivity for soundtrack work, it is no surprise that this disc sounds like great film music. It is a great CD that will appeal to many different audiences. Fans of Kitaro, Deuter, and Constance Demby will like this disc.