“Live In Long Beach 1976”, is part of earMUSIC's DEEP PURPLE / DPO reissue series that, over the last couple years, has seen the release of rare live material from the band, including Copenhagen 1972, Stockholm 1970, Paris 1975, Graz 1975 and Long Beach 1971. “Live In Long Beach 1976” features one of the very rare shows where the MK IV line up (Bolin - Coverdale - Hughes - Lord – Paice) performance was recorded live. The show was originally recorded at Long Beach Arena, California on February 27th for radio broadcast on “The King Biscuit Flower Hour”, an American syndicated radio show that featured concert performances by various rock artists, such as The Rolling Stones and Bruce Springsteen among many others. Three additional live tracks from another concert of the same tour have been added to the tracklist (Springfield, January 1976). “Live in Long Beach 1976” is a real jewel in a fan's collection, featuring a very quirky “Smoke On The Water” that morphs into a truly great rendition of “Georgia On My Mind” (Carmichael/ Gorrell), rare tracks from their album “Come Taste A Band” and even a song by Bolin's solo album “Teaser”.

In honor of its 40th Anniversary, Intrada presents an all-new edition of one of founder Doug Fake's personal favorite soundtracks. The score is not only an important part of Jerry Goldsmith's large body of work, but also Intrada's formative years. First Blood initially appeared as the inaugural release of the Film Music Treasury series, an early version of the Special Collection. In assembling that release, Goldsmith and engineer Len Engel re-sequenced the original Regency album and located one extra track not previously released, using the ¼″ two-track mixes made in 1982 for the LP. However, the ¼″ masters were plagued with an interesting anomaly: though identified with the widely-used professional Dolby A encoding process, they did not possess unique tones identifying the Dolby encoding that allows for calibration of playback machines.

Rare Earth combined R&B, funk, and psychedelic rock on hits like "Get Ready" and "I Just Want To Celebrate", but FILL YOUR HEAD tells the story of their classic years in detail. Encompassing the five studio albums from their prime period, this box set includes not only the band's best-known material, but all the additional album cuts that simultaneously contextualize and complete the Rare Earth legacy. Get the lowdown on one of finest, funkiest rock bands ever to grow from the Motown family tree.

Deluxe four CD set in hardbound book packaging. Revolutions: The Very Best Of Steve Winwood is a portrait of one of the most influential British musicians in Rock history, a singer/songwriter, peerless vocalist, guitarist and keyboard player. With a tracklisting personally selected by Steve Winwood from his five decade career, this collection features solo tracks as well as recordings with the bands he's worked with throughout the years including Spencer Davis Group and Traffic. 68 tracks.

Following the huge success of NOW That’s What I Call Timeless in 2022, NOW Music are pleased to announce the follow up, NOW That’s What I Call Legendary – Out 26th May – more legendary songs from legendary artists! Kicking off this hit-packed album with ‘Don’t Stop Me Now’ from one of the greatest bands of all time – Queen, followed by the massively popular ‘Sweet Caroline’ from Neil Diamond and the superb vocals on ‘There Must Be An Angel (Playing With My Heart)’ from Eurythmics, indicating how truly legendary this line up is. Blondie, The Police and Elton John follow, before ‘Maggie May’ from Rod Stewart and smash hits from Electric Light Orchestra, Paul McCartney & Wings and The Beach Boys. Paul Simon’s most popular solo hit ‘You Can Call Me Al’ features, as does the timeless ‘Suspicious Minds’ from Elvis Presley… and there’s still time for more icons – Christina Aguilera, Sade, Shirley Bassey, Tina Turner and Lionel Richie, before ending this disc with mesmerising vocals from Céline Dion and Whitney Houston.

With this box, we give a detailed overview of the most successful female popartists of the 50's. The first box of this series was dedicated to the "Rock `N`Roll Girls" whereas this box focuses on the "Ladies Of Pop Music". 160 of the 200 songs of this 10-CD-Set entered the charts, 29 songs, even hit #1. All great female voices of this era can be heard here: Doris Day, Connie Francis,Rosemary Clooney, Brenda Lee, Jo Stafford, Marilyn Monroe, Kay Starr, TeresaBrewer, Patti Page, Ruth Brown, Lavern Baker, Alma Cogan, Petula Clark, just to name a few.

An incredible collection – and one that fills in a crucially under-documented side of the New York dancefloor generation – the wealth of special mixes and edits that were made for that city's important DJs for their own use in clubs! The package sorts through a mountain of never-issued acetates, and goes way past conventional disco or rare club collections – to showcase the special mixing talents these DJs brought to their re-presentation of the material – which was usually done on tape, then pressed onto acetate discs for their own private use! Those rare treasures are brought forth here – in a beautiful package that's also overflowing with fantastic notes that finally give this lost history its due – all handled by Al Kent – who's a hell of a mixer himself, as well as an underground club historian.

Lazy Farmer's sole album is solid and full-bodied (if conventional and unremarkable) British folk, with a repertoire heavily grounded in traditional tunes. Indeed, eight of the 12 tracks on Lazy Farmer are traditional in origin, while another, "The Cuckoo," is not exactly uncommon to the English-speaking folk world. With a quintet featuring four vocalists, two five-string banjo players, and two multi-instrumentalists in John Bidwell (flute, flageolet, guitar) and Jake Walton (dulcimer, hurdy-gurdy, guitar), the band has a richer, deeper sound than many British groups with a similar style. Collectors might be most attracted to this by the presence of noted U.K. folk figure Wizz Jones, though he wrote just one of the cuts, the wistful "When I Leave Berlin," which is one of the set's highlights. The cover of Ralph McTell's "Standing Down in New York Town" makes one wish they'd put more contemporary songs onto the album…

When Rosemary Clooney recorded for Concord in the '80s and '90s, her voice was noticeably thinner than it had been in the '50s. This isn't to say that she sounded bad - despite her limitations and the fact that she didn't have the range or chops of her youth, Clooney could still win you over with her sensitive interpretations of lyrics. And Concord deserves credit for generally providing her with talented arrangers and musicians, as well as tasteful material (as opposed to the type of novelty items she was often given at Columbia in the '50s). On At Long Last, the singer is united with the Count Basie ghost orchestra, which is directed by trombonist Grover Mitchell. Although Clooney was a jazzy pop singer rather than a true jazz singer, the Basie band is definitely a jazz band, and it definitely swings hard on familiar standards like "Old Devil Moon," "Willow Weep for Me" and "Just in Time." Gershwin's "I Got Rhythm" is especially revealing…

Originally released in 1970, Czar is firmly established as one of the most sought-after progressive rock albums ever released in the UK. A scorching brew of Hammond organ, mellotron and intense psychedelic guitar, it's sure to appeal to fans of King Crimson, Atomic Rooster, the Nice and Led Zeppelin. Presented here complete with eight rare bonus tracks and a full-colour booklet incorporating rare photographs and comprehensive sleeve notes, this definitive reissue is simply essential for all lovers of heavy progressive psychedelia.

Smothered by the indulgence of his rock star ranking, Jack White steps into the eccentricities of the supergroup, and at first glance, this seems to be a band where White's imposing presence could overshadow the rest. Not the case with these Raconteurs. Teaming with fellow Detroit songwriter Brendan Benson and Jack Lawrence and Patrick Keeler, the rhythm section from Cincinnati band the Greenhornes, White exhales a bit, deferring enough to his mates to make Broken Boy Soldiers play like a team effort. Following the Benson blueprint, "Steady as She Goes," which opens as a slice of 1960's radio pop, the record steers away from pigeonholing the rest of the way. White's in a Middle Eastern mood for the title track as he pulls off a wicked Robert Plant howl, while Lawrence and Keeler excel on the chorus-strong "Intimate Secretary" and the optimistic acoustic rocker "Yellow Sun." Like so many all-star bands before them, The Raconteurs could be one and done. But don't place the blame on this fertile and genuine debut.

Making her debut on Decca, Alisa Weilerstein presents three major works of the cello repertoire with Daniel Barenboim leading the Staatskapelle Berlin. The star vehicle, naturally, is Edward Elgar's Concerto in E minor, which Weilerstein plays with commanding presence, rich tone, and emotional depth. Most listeners will be drawn primarily to this performance because of the piece's familiarity, and Weilerstein's charisma and passionate playing make it the album's main attraction. Yet listeners should give Weilerstein and Barenboim credit for following the Elgar with an important if not instantly recognizable or approachable modernist work, Elliott Carter's powerful Cello Concerto. Weilerstein is quite bold to play this intensely dramatic and angular composition, and while it's unlikely to appeal to the majority of fans who adore the Elgar, it deserves its place on the program for its seriousness and extraordinary displays of solo and orchestral writing. To close, Weilerstein plays Max Bruch's Kol Nidrei, a Romantic work that returns the program to a mellow and melancholy mood and brings the CD to a satisfying close. Decca's reproduction is excellent, putting Weilerstein front and center with full resonance, but not leaving the vibrant accompaniment of the orchestra too far behind her.

The question that must be confronted for those familiar with the breadth of her work is, "Is it even possible for Celia Cruz to record a bad album?" With elements such as producer Emilio Estefan, Jr., executive producer Angel Carrasco, and of course, la guarachera del mundo herself converging to create 2000's Siempre Vivire, the answer to that question seems clear. Celia's first album for Sony certainly captured those elements that uniquely belong to Cruz, and discriminatingly avoided any influences of the day that might adulterate those qualities or date the project. In conceiving this record, the creative team walked a very fine line by deciding on a project that could both stand among its contemporary peers and yet sound classic. It is hard in modern salsa to find the tres, a sultry bolero, or to hear plena played well. In a genre that continues to narrow its stylistic scope, it's refreshing to come across a record that can simultaneously be a citizen of the present, and reach to the past.

Since Crazy Horse first came to public attention as the backing band for Neil Young in concert and on his albums Everybody Knows This Is Nowhere and After the Gold Rush, it makes sense to expect that the band on its own would play something similar to the hard guitar rock and country-rock heard on those albums, albeit without Young's distinctively quirky singing and songwriting, and that is what one hears to a large extent on the debut album Crazy Horse. (Although this is their first recording under that name, core members Danny Whitten, Billy Talbot, and Ralph Molina have appeared previously on record as part of the doo wop group Danny & the Memories and the rock band the Rockets.) But there is more going on than that. Also joining in, as singers and songwriters as well as sidemen, are veteran arranger/producer Jack Nitzsche and guitarist Nils Lofgren, while Ry Cooder adds slide guitar to a number of tracks. The result is a varied group of songs that range in style from rock and country to blues and folk.

This may be the single most powerful piece of music that the Kronos Quartet has ever recorded, and perhaps that Terry Riley has ever written. This is because Requiem for Adam is so personal, so direct, and experiential. Requiem for Adam was written after the death of Kronos violinist David Harrignton's son. He died, in 1995, at the age of 16, from an aneurysm in his coronary artery. Riley, who is very close to the Harringtons and has a son the same age, has delved deep into the experience of death and resurrection, or, at the very least, transmutation. Requiem for Adam is written in three parts, or movements. The first, "Ascending the Heaven Ladder," is based on a four-note pattern that re-harmonizes itself as it moves up the scale. There are many variations and series based on each of these notes and their changing harmonics, and finally a 5/4 dance as it moves to the highest point on the strings. The drone-like effect is stunning when the listener realizes that the drone is changing shape too, ascending the scale, moving ever upward and taking part in the transmutation of harmony.