High Tide is completely ahead of its time. On their first album, Sea Chanties, they combine their folkish influences with a more harsh, aggressive sound. Sometimes sounding jazzy, and one of the first, if not the first prog-metal album. The key here is the battle, the rivalry between the electric guitar of Tony Hill and the excellent playing of Simon House on his electric violin. From the first second we feel something is ahead of its time. A huge guitar riff starts off the album, and the great rythm section soon come along. The violin adds up to the unique sound and forms a melodic mess. Throughout the album, there are a lot of excellent guitar moment and as many violin ones. Diverse, but always true to their roots, High Tide delivers. The only problem may be the vocals, wich do not fit with the intensity of the music. Still, this is heavy stuff for the time and still today, it sounds like a ton of brick.

Near the beginning of his career, Michel Legrand was primarily known as a jazz pianist, so it shouldn't be surprising to learn that none of his compositions are present on these 1959 studio sessions, which were issued by Phillips. With bassist Guy Pederson and drummer Gus Wallez, Legrand covers songs by French composers of the day along with the ever-popular "Moulin Rouge" and a somewhat upbeat arrangement of Edith Piaf's usually maudlin "La Vie en Rose," as well as standards from the Great American Songbook by Cole Porter, Jerome Kern, Vernon Duke, and Mack Gordon. Most of the songs have a Parisian theme to them. Legrand's piano style is hard to define, as he shows a variety of influences without letting any of them overwhelm his sound…

NOW Country Classics: 90's Dance Party is the 4th installment in the popular Country Classics series featuring country superstars Shania Twain, George Strait, Reba McEntire, Vince Gill, Brooks & Dunn and many more. This project is a joint venture from Universal Music Group and Sony Music Entertainment. This release is part of the multiplatinum NOW That's What I Call Music! compilation series with sales topping 250 million copies worldwide and 94 million in the U.S. alone.

NOW Country - The Very Best Of (15th Anniversary Edition) will be the latest installment in the popular NOW Country series. This compilation features tracks from the each of the 15 NOW Country releases. The project is a joint venture from Universal Music Group and Sony Music Entertainment. This release is part of the multi-platinum NOW That's What I Call Music! Compilation series and includes the world's best-selling multi-artist albums with sales topping 250 million worldwide and 94 million in the U.S. alone. Now That's What I Call Country collections have sold over 3.5 million copies.

Extensive set exploring the space rock and free festival scene, 1978-1998. Compiled with the legendary Dave Brock, frontman of Hawkwind, figurehead of the scene and inspiration for counteless like-minded heads.

The Watch proudly announce their new studio album 'THE ART OF BLEEDING'! After a huge and three years long composing process, for the first time, The Watch has ventured into the world of the concept album! Five stories that revolve around the idea of cathartic violence. A musical theme developed in various ways to create different atmospheres. A disc to immerse yourself in and let yourself go.

'Dance, No One's Watching' is an ode to the sacred, yet joyous act of dancing, an album that musically guides you through a night out in the city, from the opening of possibilities as a new evening spans out ahead, to dawn’s final hours as the night comes to a close.

Bianca Gismonti, daughter of famed Brazilian Composer, Guitarist and Pianist Egberto Gismonti brings us the new album Gismonti 70.

These recordings were unearthed from the BBC archives. All the restoration work has been done from the original analog tapes. The works presented here are from a historic session in the London studios on June 30, 1959.

Utopia - Oblivion (1983). Esoteric Recordings are pleased to announce the release of a newly remastered edition of the classic 1983 album 'Oblivion' by Utopia. The album saw Todd Rundgren, Kasim Sulton, Roger Powell & Willie Wilcox strike out on their own, funding the recording themselves and in the process producing an album of startling originality. Featuring such classic tracks as 'Itch In My Brain', 'Cry Baby' ,'Lovewith a Thinker' and 'Winston Smith Takes It On The Jaw', 'Oblivion' was one of Utopia's finest later albums…

Over the last three or four years, Yo-Yo Ma has been exploring the peaks of the cello repertory in a quickly growing series of LPs. Those disks, in turn, have helped establish him not only as one of the finest cellists of his generation… The Kabalevsky…boasts a melancholy central Largo with the kind of long, arching cello line that allows Mr. Ma to display his rich sound.

Otto Klemperer's Mahler is invariably dry-eyed, yet urgent, a valuable corrective to the number of latter-day interpreters who would either self-indulgently wallow in the music's sentiment or, even worse, treat it as pure sonic architecture, as though it were pre-Schoenberg. If this 1967 reading of the Ninth sounds slightly detached by modern standards, if its expressive points seem slightly understated, it is nevertheless deeply engaged and masterfully controlled. Klemperer was beginning to slow down by this point in his career, and the tempos are just a hair on the slow side, especially in the two middle movements. But the old firmness of conception and rocklike steadiness are still there, even in the stormy weather of the Rondo-Burleske.

Johannes Ockeghem is one of the most famous composers of the renaissance and belongs to the most prominent representatives of the Franco-Flemish school. Despite his high reputation during his lifetime we know very little about him. Even the exact year of his birth is still not established. He was at the service of Charles, Duke of Bourbon, and later he became a member of the French royal chapel. His fame is documented by the various laments in both text and music which were written on his death in 1497. As one of the very few composers from the Franco-Flemish school he has never worked in Italy, and this has consequences for the performance practice.