Killing Time is a British glam rock band Girl compilation album that was released after the band broke up. It was made with leftover tracks from the recording sessions of their two studio albums and unpublished tracks for a third studio album never released.

Phaedra 50th Anniversary Edition is a six-disc 50th anniversary boxed set featuring a remastered original album mix, along with two discs of out-takes from the recording sessions. The complete concert at the Victoria Palace Theatre in London in June 1974 (the band's debut live appearance in the UK). The box also features an illustrated book with a new essay by Tangerine Dream authority Wouter Bessels. Originally released by Virgin Records in February 1974, Phaedra is one of Tangerine Dream's most successful and acclaimed albums, spending 15 weeks on the UK charts upon it's release. Recorded at The Manor studios in November 1973, it was the band's first album for Virgin and also the record first to feature their classic sequencer-driven music.

Rock of Ages (Original Motion Picture Soundtrack) is the soundtrack to the 2012 film Rock of Ages based on the rock jukebox Broadway musical of the same name. The soundtrack is a collection of music from 1980s rock artists including Def Leppard, Journey, Scorpions, Poison, Foreigner, Guns N' Roses, Pat Benatar, Joan Jett, Bon Jovi, Twisted Sister, Whitesnake, REO Speedwagon, and others. The songs were performed in the film, by Julianne Hough, Diego Boneta, Russell Brand, Alec Baldwin, Paul Giamatti, Catherine Zeta-Jones, Malin Åkerman, Mary J. Blige, Bryan Cranston and Tom Cruise. The soundtrack was released by WaterTower Music on June 5, 2012 and was commercially successful, becoming the second-best selling soundtrack of the year, behind The Hunger Games: Songs from District 12 and Beyond (2012). It was further nominated for the Best Compilation Soundtrack for Visual Media at the 55th Annual Grammy Awards.

Ronnie James and his latest version of Dio roll out another collection of songs on Killing the Dragon, steeped in the requisite medieval imagery he loves to use. The songs and the sound remain the same throughout, and as far as Dio is concerned this can be both good and bad. From the beginning he takes listeners down a familiar route with "Killing the Dragon," which begins with a sinister intro and quickly kicks in with a classic metal guitar riff - formulaic yes, but definitely rocking. The song's subject is the computer ("small gods with electrical hearts"), referred to as the dragon, and how it is now "time to be killing the dragon again." Dio's voice is in fine form, as is the musicianship of his current lineup, including the latest addition of Doug Aldrich on guitar, who successfully captures the classic Dio sound…

If you're looking for a recording of Locatelli's complete Opus 8 Violin Sonatas, look no further. These 1994 recordings by the aptly named Locatelli Trio are not only superbly played and beautifully recorded, they have the singular virtue of being the only available recordings of the works. That's alright: with violinist Elizabeth Wallfisch at the helm, they are uniformly first-rate performances. Wallfisch is herself a superior period instrument player who balances the virtuoso demands of the music with its undeniable melodic charm and harmonic invention, and she leads cellist Richard Tunnicliffe and harpsichordist Paul Nicholson in performances that amaze as well as delight the listener. Furthermore, when the trio becomes a quartet with the addition of violinist Rachel Isserlis for the final four sonatas for two violins and continuo, the best gets even better through the brilliant interplay of two skilled soloists. For lovers of virtuoso violin music of the Italian High Baroque, this is as good as it gets. Hyperion's sound is crisp but warm, detailed but deep.

After the much-discussed, uncompleted Smile project - which was supposed to take the innovations of Pet Sounds to even grander heights - collapsed, the Beach Boys released Smiley Smile in its place. (To clarify much confusion: Smiley Smile is an entirely different piece of work than Smile would have been, although some material that ended up on Smiley Smile would have most likely been used on Smile. Also, much of Smiley Smile was in fact recorded after the Smile sessions had ceased.) For fans expecting something along the lines of Sgt. Pepper's (and there were many of them), Smiley Smile was a major disappointment, replacing psychedelic experimentation with spare, eccentric miniatures. Heard now, outside of such unrealistic expectations, it's a rather nifty, if rather slight, effort that's plenty weird - in fact, it's often downright goofy - despite Brian Wilson's retreat from both avant pop and active leadership of the group…

He didn't go so far as to call it Silk Degrees II, but Dig is as close as Boz Scaggs is likely to come to recording the sequel to his most commercially successful and, for many, best-loved record (unless you count 1977's underrated follow-up, Down Two Then Left). Reunited after all these years with Silk Degrees collaborator David Paich, Scaggs makes a successful return to the blue-eyed soul of his late-'70s works on tracks such as "Desire" and "Thanks to You," the latter featuring tastefully muted trumpet work from Roy Hargrove.

This is the most beautiful of Mozart playing, his last piano concerto given here by Emil Gilels with total clarity. This is a classic performance, memorably accompanied by the VPO and Böhm. Suffice it to say that Gilels sees everything and exaggerates nothing, that the performance has an Olympian authority and serenity, and that the Larghetto is one of the glories of the gramophone. He's joined by his daughter Elena in the Double Piano Concerto in E flat, and their physical relationship is mirrored in the quality, and the mutual understanding of the playing: both works receive marvellous interpretations. We think Emil plays first, Elena second, but could be quite wrong. The VPO under Karl Böhm is at its best; and so is the quality of recording, with a good stereo separation of the two solo parts, highly desirable in this work.

Singer/dancer/choreographer Paula Abdul hit the big time with the third single, "Straight Up," off this album, which sparked a string of hits that carried through to her follow-up. Despite having a slight voice, her voice is distinct and perfectly suited to this synthesized type of late-'80s dance-pop. "Cold Hearted" is insistent and catchy, "Forever Your Girl" is sweet and accessible, and "Opposites Attract" gives Abdul a chance to spar with the Wild Pair. There is some filler – "Next to You," for example – that hasn't aged as well as the better material, but overall this is a consistent album with some great dance-pop songs. Unfortunately, as Abdul and her material matured, her audience waned.

Poco had originally made their name as a live act, and they'd always been at their best and most easygoing on-stage. The result is this live album of new and old material, featuring Jim Messina's swan song with the band and some of the tightest playing and best singing in their recorded history. Jewels include "C'mon," "Hear That Music," "Kind Woman," and "You'd Better Think Twice." About as perfect an album as they ever made and, not coincidentally, by far the biggest seller the early group ever had.

After he was coaxed out of seclusion in Chicago to replace Harold Land in the Clifford Brown/Max Roach quintet in 1954, this release was Sonny Rollins' first album as a leader since the conclusion of his first self-imposed sabbatical. Roach is on hand in the drummer's seat, spurring Rollins along every step of the way. Not that the tenorist needs much spurring - he comes flying out of the gate on the opening tune, "There's No Business Like Show Business" and doesn't let up for the duration of the session. He takes his first chorus on "Show Business" with only bassist George Morrow for support, then when the drums come in, he blows ferocious double-time before giving way to Roach's extremely musical solo. Rollins and Roach also work off of each other to great effect on "Raincheck," trading fours on this imaginative selection from the from the Billy Strayhorn catalog…

A total of 73 tracks, approximately 8 hours and 30 minutes of recording. From Vivaldi to Beethoven, Barber to Shostakovich… No concerto, regardless of era, country, or style, can resist Itzhak Perlman's exceptional musicality and astonishing talent! Daniel Barenboim, Eugene Ormandy, Carlo Maria Giulini, Bernard Haitink, Zubin Mehta, Seiji Ozawa, and André Previn have all taken to the podium.