Communiqué is the second studio album by the British rock band Dire Straits released on 15 June 1979 by Vertigo Records internationally and by Warner Bros. Records in the United States. The album produced the single "Lady Writer", which reached #45 on the Billboard Hot 100 chart and #51 on the UK Singles Chart. The album reached #1 on album charts in Germany, New Zealand, and Sweden, #11 in the United States and #5 in the United Kingdom. Communiqué was later certified gold in the United States, platinum in the United Kingdom and double-platinum in France.

Bryan Ferry invests considerable time and energy in cover albums (he should, considering that they compose a good portion of his solo catalog), treating them with as much care as a record of original material. He's always found ways to radically reinvent the songs he sings, so it's easy to expect that his collection of pop standards, As Time Goes By, would re-imagine the familiar. Instead, As Time Goes By is his first classicist album, containing non-ironic, neo-traditionalist arrangements of songs associated with the '30s. That doesn't mean it's a lavish affair, dripping with lush orchestras – it's considerably more intimate than that. Even when strings surface, they're understated, part of a small live combo that supports Ferry throughout the record.

For all intents and purposes, Whitney Houston retired from being a full-fledged recording artist after her third album, 1990s I'm Your Baby Tonight, choosing to be a Streisand-like celebrity who cultivated a career through movies, soundtrack contributions, and social appearances. She may have been content to continue in that direction for many years if Arista president Clive Davis didn't push her into recording My Love Is Your Love, her first album in eight years, which easily ranks among her best. Never before has Houston tried so many different sounds or tried so hard to be hip.

Mahler 2 is the second album from Philharmonia Records; following their first album - Santtu conducts Strauss. “[Also sprach Zarathustra] Rouvali’s conducting of both is certainly interesting and personal… impressive; an expansive reading that sees the work whole…[An Alpine Symphony] undeniably picturesque; vivid and dramatically projected…top-notch playing; and this extravagant score also enjoys notable recorded sound… lingering lyricism; invariably heartfelt and; in conclusion; cathartic”; Founded in 1945; The Philharmonia Orchestra creates thrilling performances for a global audience and has premiered works by Richard Strauss; Sir Peter Maxwell Davies; Errollyn Wallen; Kaija Saariaho and many others.

One of Michael Haydn's symphonies was taken for Mozart for a long time, and a good deal of their music is linked by its Salzburg roots. The sacred music on this disc, however, either postdates or predates Mozart and sounds very little like him. Included are four short masses for the Lenten season (all but one lacking Glorias, like some other masses of the period) and a charming Graduale for Palm Sunday. All but the concluding Missa Sanctae Crucis were written in the 1790s, after an ecclesiastical reform mandated simple, syllabic settings of liturgical texts, and the Missa Sanctae Crucis is a simple, youthful work. The music is accompanied only by a small continuo group.

Nothing could be more appropriate in celebrating Victoria de los Angeles’s 75th birthday than this extensive conspectus of her recordings of Spanish song over 40 years. It’s hardly possible in a brief review to do justice to such an astonishing achievement on the part of the Spanish soprano; indeed had she sung nothing else her place in recorded history would be assured.

For the 15th anniversary of Ensemble Diderot, and after forays into concertos and chamber music using larger forces, Johannes Pramsohler and his colleagues go back to the roots with a recording of their core repertoire: trio sonatas. Highly inventive works by Bach pupils Johann Gottlieb Goldberg and Wilhelm Friedemann Bach make for a programme in which the Diderots show their art with their trademark stylish and agile playing.

The music of Unsuk Chin is a magical realm in which new perspectives are constantly unfolding. Labyrinths of novel sounds and complex structures can be followed by moments of transcendental beauty. For us as an orchestra, this world poses certain challenges — indeed, it is part of Unsuk Chin’s style to test the limits of performing techniques. Or, to put it another way, she lets us show off our strengths. Her inventiveness exemplifies the inexhaustible vitality of today’s music. These qualities have made Unsuk Chin one of few composers with whom we’ve collaborated so frequently and productively.

The three works on this album were all composed between 1943 and 1953. Despite the extreme experiences and difficulties she faced during this undoubtedly most tragic time in Poland’s history, Grażyna Bacewicz managed to compose outstanding works which constitute splendid testimony to the vibrant creative potency for which she was renowned.

Robert Muller-Hartmann was born in Hamburg, in 1884, the son of the piano teacher and clarinettist Josef Muller and his wife, Jenny. He studied in Berlin for four years, but then returned to Hamburg where he pursued a successful career combining teaching, composing, and writing. His works were widely performed by conductors such as Karl Muck, Carl Schuricht, Richard Strauss, Otto Klemperer, and Fritz Busch, and regularly played on German Radio. With the advent of National Socialism, in 1933, Muller-Hartmann was forced to resign from his teaching posts at the University and Conservatory.

As seen on PBS. Chet Atkins - Certified Guitar Player is a concert-tribute to Chet Atkins, performed by Chet and many giants in the music business: Mark Knopfler, The Everly Brothers, Emmylou Harris, Michael McDonald, Waylon Jennings, and Willie Nelson, backed by Nashville's premier studio musicians. Great music, great fun, and a moving experience as a joyful document created about Chet Atkins' importance in the history of music, and to everyone on that stage. The CD: contains the entire soundtrack of the program above. It has all the music (17 songs), all the interplay between Chet and his fellow stars, and all the excitement felt by the audience that night.

You know it's about time somebody took all the little records that Big Joe Turner managed to make back in the day and brought them out in sequence the way they appear in the Classics Chronological Series. Nobody in the world ever sounded quite like Joe Turner and nobody ever will. There is a magical quality that makes his blues performances feel like rituals full of clarity and grace. Each and every Joe Turner record is as beautiful as a massive stand of tiger lilies growing up through the middle of a brickyard, silent, solid, and dignified under the dew in the first light of dawn. Incredibly, despite his enormous popularity during the Second World War, by 1949 this gifted vocalist was scuffling to get recording gigs. Ten tasty sides were cut in Los Angeles for the MGM label with a solid band fairly bursting with hot horns and driven by Pete Johnson's piano. Joe Turner closed out the year by waxing two sides for Rouge Records in Baton Rouge, LA, and four for the Freedom label in Houston, TX. In April of 1950, Joe Turner made a fistful of records in New Orleans backed by Dave Bartholomew & His Orchestra with Fats Domino at the piano.

An astonishingly diverse solo debut by the Isleys' axeman, High Wire is full of screaming guitars, tight riffs, ear-tugging melodies, and evocative vocals.