2010 live archive release featuring newly-discovered 'live' recordings from 1972 by one of the finest British Jazz-Rock groups of the 1970's. If starred tenor sax men Dick Morrissey and Dave Quincy with lead guitarist Terry Smith, and they all play at their best on these sparkling in-concert performances. Although the British band released a succession of excellent studio albums, there is no doubt that these 'live' recordings from Europe have the edge. You can hear the audience shouting encouragement and the horn solos are delivered with extra punch as the tunes take on new life. Vocalist 'J.W' Hodkinson interprets the lyrics with great spirit and shows why If were so popular among Rock as well as Jazz fans.

Movin' is the second studio album by American singer Jennifer Rush. Originally released in Germany in late 1985, just as Rush was experiencing worldwide success with "The Power of Love" from her previous album, Movin' became an instant hit there. The album reached No.1 for 14 weeks and went on to be the biggest selling album of 1986. Despite high sales for her previous album, Rush found it harder to follow up in the UK, where the album (released in 1986) only managed to reach No.32, mainly due to the lack of a hit single.

Aquostic II – That’s A Fact! is the follow up to the phenomenally successful album from 2014 Aquostic (Stripped Bare). Aquostic II offers a generous helping of Quo classics that are immediately recognisable, and yet demonstrably re-engineered; including In The Army Now, Hold You Back and Roll Over Lay Down. Also featured are three brand new tracks from the band One For The Road, Is Someone Rocking Your Heart? and One Of Everything. This deluxe edition comes with a bonus CD featuring six tracks recorded at the band’s 2015 Stuttgart Aquostic show including Pictures of Matchstick Men and Whatever You Want.

Continuing Warner Classics’ multiple-award-winning Berlioz cycle (Les Troyens, La Damnation de Faust) with conductor John Nelson and the Orchestre philharmonique de Strasbourg. Berlioz’s orchestral song cycle on a libretto by Théophile Gautier, Les Nuits d’été, is sung by superstar (bari)tenor Michael Spyres. This is the first ever recording of the original 1856 version by one single voice – Michael Spyres sings with a bass, tenor and baritone voice. Featuring the young British viola player Timothy Ridout in Berlioz’s Harold en  Italie.

"The Bad Mixes" was a limited release CD given out to promote Monster-Cable (hardware cabling that had been used extensively in the making of the "Bad" album to provide crystal-clear studio recordings). The album was never available for sale publicly. Two versions of the album were created - a 9-track version, and a numbered 13-track version (rarer).

Karajan reportedly felt so strongly about his recordings of the Second Viennese School that he agreed to finance them himself when DG balked at picking up the tab. These are great performances, to be sure. Indeed, there may be some others that are comparable, but none are superior. The Berg pieces never have sounded so decadently beautiful, nor the Webern so passionately intense, or the Schoenberg so, well, just plain listenable. The Berlin Philharmonic strings make their usual luscious sounds, but here the winds, brass, and even percussion rise to the occasion as well. And sonically these were always some of Karajan’s best efforts. Essential, then, and a perfect way to get to know these three composers on a single disc.

Charles Mackerras doesn’t put a foot wrong anywhere. The “Military” Symphony features sprightly tempos in its outer movements, with percussion that’s exciting but never vulgar in the famous Allegretto. In addition to one of the best-ever accounts of its slow movement, the “Drumroll” offers Haydn’s original thoughts on the finale, with its surprising modulations in the closing pages. Fabulous playing, informative booklet notes, and superb sound cap a release that deserves far more acclaim that it has received to date. There’s no point in enumerating the disc’s virtues any further: listen and enjoy them for yourself. You can do “different”, but you can’t do better.