Songwriter and pianist Anne Clark has been a cult figure since the early '80s and has amassed a rather sizable catalog despite her small but rabid following. She writes nearly-Gothic love songs full of obsession and pathos, and pretty orchestral settings with clever instrumental figures and stinging piano runs and minor-key epiphanies. She's a consummate artist, playing to her strengths while trying to subtly, but surely, extend her reach, and always following her own muse, even when it takes her into dissonant territory. Most of her albums are out of print even on CD, and sell for collector's prices when they can be found. This is too bad, because Clark has assembled a solid, if quirky, and passionately honest body of work. This best-of issued by Beehive is truly that. It features 24 tracks and clocks in at over 75 minutes. Many of these are Clark's most lovely songs, such as "The Sitting Room," "All Night Party" (with Vini Reilly of Durutti Column), the "12" remix" of "Our Darkness," and "The Last Emotion," as well as instrumental themes such as "Swimming" and "An Ordinary Life".

H.​Arnold in stereoplay 10/85:"Sowohl die Blechbläserstammbesetzung des Ensembles als auch die Holzbläsergäste zeigen sich von der besten Seite mit glanzvollen Solo- passagen und einem hervorragend aufein- ander abgestimmten Gesamtklang,den auch die Technik optimal einfing.​"

The recording of the original production of Philip Glass' and Robert Wilson's Einstein on the Beach has iconic significance both in the development of the musical style unfortunately known as minimalism, as well as in the history of music in the late twentieth century. It was a watershed moment when Glass and his ensemble brought the nearly five-hour opera to the Metropolitan Opera House in 1976; his unique aesthetic convictions moved from the rarefied atmosphere of loft concerts into the face of the classical music establishment in a way that could not be ignored.

One of Portugal´s leading classical musicians, Bruno Monteiro is herald by Opus Klassiek as a “top violinist” and by Musical Opinion as an “admirable artist”.

Moroccan Jajouka master Bachir Attar meets American experimental musician Elliot Shrap for a live jam of drum machines and traditional Moroccan instruments in 1990. Bachir Attar's Career spans five decades and represents the transcendental sounds of Jajouka, a small Moroccan village situated between Fes and Tangier, known for its unique mystical sound. Fans include William Burroughs and The Rolling Stones with which Bachir recorded with in 1989. A year later Attar collaborated with the prolific avant-garde jazz musician Elliot Sharp on this very Album. Both Sharp and Attar have dedicated their careers to exploring the meeting points between east and west and this album is a unique example of two brilliant minds creating a new, ultra trippy sonic experience.

Fortuna Records return with an exceptional reissue of a mid-80s early electronica LP by keyboardist Raviv Gazit. The album was composed entirely on the Synclavier synthesizer in the basement of the Tel-Aviv University in 1985. Gazit was ahead of his time composing cold yet blissful electronic music for film and theatre which he later released as an album. An unexpected yet extremely welcome addition to Fortuna’s killer catalog.

Powerhouse is a 1977 compilation album by Deep Purple, featuring previously unreleased live and studio tracks from the band's Mark II line-up at the height of its powers. The album achieved Gold Certification in Japan.

Irish hard rocker turned respected blues man Gary Moore may not be breaking new ground 15 years into his musical transformation, but he continues to churn out solid, energized albums that play to his considerable strengths. It may be his raw Peter Green-inspired guitar that draws fans in, but Moore's soulful vocals and stronger-than-necessary songwriting keeps them there. These 11 humdingers feature five originals interspersed between sharp, tough covers of Sonny Boy Williamson (two tracks), Chuck Berry, John Mayall, and even a closing, seven-minute acoustic version of Son House's "Sundown," a rare glimpse of Moore's unplugged abilities.

French composer/conductor Paul Mauriat is a classically trained musician who decided to pursue a career in popular music. His first major success came in 1962, as a co-writer of the European hit "Chariot." In 1963, the song was given English lyrics, renamed "I Will Follow Him," and became a number one American hit for Little Peggy March. Mauriat is best remembered for his 1968 worldwide smash "Love Is Blue."

Claudio Monteverdi's Seventh Book of Madrigals have been recorded well by several early music groups, but one expects superior readings from harpsichordist Rinaldo Alessandrini and his vocal-instrumental ensemble Concerto Italiano, and indeed, one gets them here. Alessandrini's versions are on the spare side, with seven voices and an instrumental ensemble of 13 that includes three continuo instruments plus percussion, with Alessandrini's harpsichord prominent in the mix, but he has all the equipment he needs to deliver a really distinctive "concerto," as the title of the Seventh Book boldly proclaims itself. With this book, Monteverdi moved decisively away from the old polyphonic madrigal ideal and toward the text-based settings that would be the norm for vocal music over the next four centuries and counting.

The veteran blue-eyed soul singer has been busy since 1995 (the year he released his last literal pop album, Soul Survivor), recording albums of standards along with his Frank Sinatra and Bobby Darin-styled soundtrack work and counting the royalties from the 100 or so covers or samples of his best-known hit, "What You Won't Do for Love" – so preoccupied, in fact, that's it's been easy to forget just how skilled he is at delivering easygoing romantic pop, whether it's funky and percussive (as on the brassy, bouncy "Call Me Up"), perfect for Latin salsa dancing (the balmy "Donna"), or simply laid-back and moonlit (the title track).

The central thread linking all the works featured in this recording is their assimilation of various elements of Jewish music, whether directly stemming from Chassidic folk traditions, or relating to material directly associated with religious worship. Each composer responds to this music in different ways, attempting in varying degrees to integrate it within the structural conventions of a Western European musical mainstream. By doing so, the music projects a multitude of emotions and feelings.