As the ESP-Disk recordings are digitally remastered (finally, thank God), it's a true blessing to have the two albums vocalist Patty Waters recorded for the label in 1965 (Patty Waters Sings) and 1966 (College Tour) on a single CD. The historical significance of these recordings cannot be overstated. Since Waters' output until the late 20th and early 21st centuries was limited to these two recordings and some work she did with Marzette Watts (a vocal reading of Ornette Coleman's "Lonely Woman" recorded in 1968), this pair of records presented properly in a digital format is necessary. Waters' influence has been noted by Yoko Ono, Diamanda Galas, Diana Rogerson, and Patti Smith – check her adaptation of the traditional ballad "Black Is the Color of My True Love's Hair," for a notable reason why. Waters, whose own influences were Billie Holiday, Ella Fitzgerald, and Sarah Vaughan, wanted to record standards for Bernard Stollman's label (the pair had been introduced by no less than Albert Ayler). He told her to write her own material, She did, and a few days later (in 1965), he recorded Patty Waters Sings with pianist Burton Greene's Trio.

Agostino Steffani was a clergyman, diplomat, and composer of the Italian Baroque period. Born in Castelfranco, Veneto, in 1654, Stefano joined the choir of St. Mark's Basilica in Venice in his early years. His exceptional singing voice led him to study in Munich, Bavaria. As a composer, Stefano's works are rarely performed today. Thanks to the current popularity of classical music, this is the only complete recording of his long-forgotten opera "Alarico." It's a must-see for fans of rare repertoire and vocal music.

Recorded live May 24 (A1-A6, B2) and May 27 (B1, B3, B4) 1973. Insert: "Van Morrison is too important and rewarding an artist to miss. He's as exciting a performer as we have in contemporary music. His excitement comes from the intensity of his performance. When you see him struggle on stage to achieve his own sense of perfection, you can understand the drive that is behind his creativity. There were moments during his show that he hit the peak and you could wish that everyone who had ever been moved emotionally by music could be on hand to share the excitement." - L.A. Times

With only two studio albums to their credit, the need for a Wilson Phillips best-of is in itself questionable, but for casual fans unwilling to spring for the trio's entire catalog, this is certainly the disc to own – all their hits are here, including "Hold On," "The Dream Is Still Alive," "You're in Love" and "Give It Up."

Available for active Interscope Vinyl Collective subscribers only.The Devil and God Are Raging Inside Me is the third studio album by American rock band Brand New. The album was recorded over the course of a full year, from 2005 to 2006, in studios in Long Island and Massachusetts with producer Mike Sapone; it was released on November 21, 2006 through Interscope Records, making it their major label debut. The album arose following the online leaking of several unfinished demos that were meant to be early blueprints of the upcoming record.

Albert Marcœur is a French composer, singer and songwriter. He began his career in the early 1970s. His body of work mixes melodic, rhythmic and sonic experimentations with fancy nursery rhymes, humorous and offbeat lyrics. In France he has been called "the French Frank Zappa". Albert Marcœur, French multi-instrumentalist/composer, was born on December 12 1947, in Dijon, France. During his formal education of clarinet at the National Academy of Music and Dance of Dijon, Marcoeur actively participated in many straightforward college rock 'n roll bands. Closing an end to his formal training Marcoeur's musical visions had gravitated towards the experimental facets of music, wishing "to do nothing else but make my own music".

Childhood friends and fellow rockvisionaries Frank Zappa and Captain Beefheart put aside their differences to tour the US together in the spring of 1975. The resulting shows found them both on superb form, as evidenced by this legendary set, preserved in superb fidelity and finally available on CD again, complete with background notes.

As in its Schubert recording in 2018, the Quatuor van Kuijk likes to delve into a composer's youthful output and then measure his evolution by confronting it with his mature works. Hence, after recording two of Mozart's early string quartets in 2016, the French group, here joined by violist Adrien La Marca, voted Revelation at the Victoires de la Musique Classique in 2014, now offers the String Quintets K515 and K516. These two large-scale works dominate Mozart's instrumental output in the year 1787, which ended with the premiere of Don Giovanni. They show us a composer at the height of his creative powers, in a genre to which he had not returned for fourteen years and which he herebrought to a high degree of formal perfection.

Ces trios de Joseph Haydn sont dignes d'intérêt à plus d'un titre. D'abord parce que le compositeur les écrit à Londres en 1795 alors qu'il est âgé de plus de quatre-vingts ans ! Ensuite parce que l'inspiration du compositeur est extrême. Loin de toutes contraintes, Haydn se fait plaisir en travaillant une forme dans laquelle prime le dialogue, l'échange et la virtuosité. L'interprétation explosive de Jérôme Hantaï et de ses deux complices sert cette inventivité extraordinaire du vieux maître. Dans ce disque, c'est avant tout le plaisir des sens et des sons qui nous envahit. Une belle leçon de passion.

Whitney Dancin' Special also known as just Dancin' Special, is the first extended play/remix album by American R&B/pop singer Whitney Houston, it was released exclusively in Japan on November 1, 1986 by Arista Records. It was manufactured and distributed by Nippon Phonogram during its original release, and by BMG Victor during its re-issue. It includes 5 remixed and 1 instrumental versions of songs from her self-titled debut album. The album peaked at #14 in the Japanese charts.

The “Mozart Matinees” were originally founded by Bernhard Paumgartner to introduce audiences to the genial composer’s little-known works. The Mozart Matinees of the 2004 summer festival – in addition to Mozart – were dedicated to the younger brother of Joseph Haydn: Johann Michael Haydn. Michael Haydn’s Requiem in C Minor was heard for the first time in December 1771; both father and son Mozart participated in the performance. Mozart later quoted a motive from this Requiem in his Maurerische Trauermusik and quoted the older man as well in his own requiem.

This is the recording studio version of the concert Patricia Kaas gave at Carnegie Hall in tribute to the 50th anniversary of Edith Piaf's passing. She is backed by the Royal Philharmonic Orchestra, a small studio band – accordion, bass, guitar, Theremin, keyboards – and even a chorus under the direction of Abel Korzeniowski, who also arranged the material and produced the album. The live performance, while a commercial success, had its share of critics, including Piaf purists, who were quick to note that Kaas doesn't possess the vocal range of her subject. Kaas fans found the size and power of the orchestra too daunting for her to overcome. Both of these arguments are likely to follow this studio production, but ultimately, both are in error.

On The Road Home, Heart re-records some of their biggest hits acoustically live in concert. It's interesting to hear these arena rock and AOR standards – including "Barracuda," "Crazy on You," "Dreamboat Annie," and "All I Wanna Do Is Make Love to You" – recast as intimate numbers; Heart manages to find new layers in all of these warhorses, partially due to the sublime production of John Paul Jones. The result is Heart's best album in years – the old material sounds more alive than anything they have written in a decade.

Where Pyromania had set the standard for polished, catchy pop-metal, Hysteria only upped the ante. Pyromania's slick, layered Mutt Lange production turned into a painstaking obsession with dense sonic detail on Hysteria, with the result that some critics dismissed the record as a stiff, mechanized pop sell-out (perhaps due in part to Rick Allen's new, partially electronic drum kit). But Def Leppard's music had always employed big, anthemic hooks, and few of the pop-metal bands who had hit the charts in the wake of Pyromania could compete with Leppard's sense of craft; certainly none had the pop songwriting savvy to produce seven chart singles from the same album, as the stunningly consistent Hysteria did.

Some classic rock reunions are driven by marketing, some driven by a desperate need to reconnect to the past, some exist merely for the music. Red Velvet Car, Heart’s first album since 2004’s Jupiter’s Darling, belongs to the latter camp: it’s music with no seeming commercial aspirations, music that is connected to the past but doesn’t strive to replicate it. Heart eschews their teased, corseted ‘80s bombast and sticks to the Zep worship of the ‘70s, an obsession that’s proved quite fertile. The Wilson sisters are clearly older than they were when they belted out “Barracuda” – the tempos are generally slower, Ann’s voice doesn’t reach the same heights – but they embrace their age, a move that gives their excursions into folk including a revival “Sand” from their 1990 Lovemongers sideproject, a record that pointed the way toward the textured movie here. Red Velvet Car has something of a meditative mood – the punchy Townshend power chords are used as color, not fuel – triggered somewhat by a preponderance of textured, acoustic-laden arrangements and miniature epics, all elements that hearken back to Heart’s golden age yet wind up feeling right in line with their vibe in 2010.