The Genius of Ray Charles is a 1959 album by Ray Charles. In 2003, the album was ranked number 263 on Rolling Stone magazine's list of the 500 greatest albums of all time. Some players from Ray Charles' big band are joined by many ringers from the Count Basie and Duke Ellington bands for the first half of this program, featuring Charles belting out six songs arranged by Quincy Jones. "Let the Good Times Roll" and "Deed I Do" are highlights, and there are solos by tenorman David "Fathead" Newman, trumpeter Marcus Belgrave, and (on "Two Years of Torture") tenor Paul Gonsalves. The remaining six numbers are ballads, with Charles backed by a string orchestra arranged by Ralph Burns. Charles' voice is heard throughout in peak form, giving soul to even the veteran standards.

Best 80s Car Songs Sing Along Album In The World… Ever: Three CD set. Crammed with no fewer than 62 fabulous sing-a-long classics from the '80s (including a few forgotten gems), The Best 80s Car Songs Sing Along! Gets you behind the wheel and has you belting out some of the greatest songs by some of the biggest and best artists of the decade. From Wham! #and Culture Club to Blondie and UB40, this sensational collection is packed with household names and features some of the most well-loved 80s hits including Yazz's 'The Only Way Is Up', Survivor's 'Eye Of The Tiger', The Pointer Sisters' 'Jump (For My Love)' and many, many more. For the happiest journeys… The Best 80s Car Songs Sing Along Album in the World… Ever!

It can't come as a surprise that the Mars Volta's fourth album opens with a bang - sonic terrorism is one of the only things listeners can count on from the band - but it's genuinely novel that The Bedlam in Goliath never lets go of its momentum, not even after a full hour's worth of unrelenting war on silence, the wrapping paper for a concept album about the power of the occult. On their first three proper albums, Cedric Bixler-Zavala and Omar Rodriguez-Lopez played games of quiet-loud-quiet (or loud-quiet-loud), sneaking around stealthily for minutes at a time before detonating another blast of thrash metal riffing and piercing screams. The Bedlam in Goliath is simply loud-loud-loud, virtually every song played at maximum volume and tempo. But, in fact, instead of being wearisome or exhausting, it's an oddly refreshing album…

"Ferengistan" is a term used in Central Asia to denote an imaginary place that represents the superficiality and materialism that too often characterize Western culture. So there's no real secret to the message behind this album by Toby Marks, aka Banco de Gaia. While the music is (thankfully) free of didactic lyrics, its instrumental tracks were written with serious matters of geopolitics in mind: one track has reference to a law recently passed in Mongolia, reinstating the use of surnames (a practice previously forbidden under Communist rule); the ironically titled "Harmonious G8" consists of eight overdubbed vocals, each an improvisation by a singer from one of the G8 nations; "White Man's Burden" requires little amplification. If you're not interested in the politics, you can just relax and enjoy the variously danceable and relaxing moods that Marks creates…

Lizzie Douglas, otherwise known as Memphis Minnie, was a blues guitarist, singer and songwriter from Mississippi, born in 1897, who ran away from home when she was 13 to start playing on Beale Street in Memphis, Tennessee. She started performing with her second husband Kansas Joe McCoy and they made their first records in 1929 – she remained active as a performer and recording artist until the 1950s. She was without doubt one of the true pioneers among female country blues artists. This 99-track 4-CD collection comprises selected A and B sides from her releases on the Columbia, Vocalion, Decca, Bluebird, Okeh, Regal, Checker and J.O.B. labels covering the spectrum of her career – she recorded over 200 titles, so this set offers a representative selection. It Includes classics like “Bumble Bee”, “When the Levee Breaks, “Me And My Chauffeur Blues”, Nothing in Rambling” and many more. Apart from the recordings with Kansas Joe McCoy, it also features performances with Casey Bill Weldon, Little Son Joe and others. Among the blues artists of her era, she was particularly influential, not least as her career spanned a crucial quarter century in the genre. This collection offers a substantial and nicely presentative showcase for her distinctive style of blues.

Features Leeds based cult mod band The Outer Limits’ complete recordings. Including their rare, sought after pop soul singles ‘When The Work Is Through’ and ‘Just One More Chance’ plus freakbeat flip ‘Help Me Please’ and the psychedelic pop gem ‘Great Train Robbery’. Featuring 14 previously unreleased demos from the vaults of The Outer Limits’ singer songwriter, guitarist and keyboardist Jeff Christie who has compiled this set.

Troyal Garth Brooks (born February 7, 1962) is an American singer and songwriter. His integration of rock and pop elements into the country genre has earned him immense popularity in the United States. Brooks has had great success on the country single and album charts, with multi-platinum recordings and record-breaking live performances, while also crossing over into the mainstream pop arena.

It had to happen sometime, and after about 30 years of piecemeal Yardbirds compilations, here it is: a lengthy best-of anthology that manages to cross-license material from the Clapton, Beck, and Page eras.

Here is another collection of popular classical favourites interpreted by Sir Neville Marriner.

Teddy Wilson is often referred to as the definitive swing pianist, stylish, elegant and technically and artistically brilliant, and adept in any setting, be it solo, small bands or orchestras, as a leader or sideman, and renowned as one of the most sensitive and sought-after accompanists, especially by female vocalists of the day. He was especially celebrated for his work with Billie Holiday. In the era before the introduction of the Billboard charts in 1940, Joel Whitburn’s respected book “Pop Memories 1890-1954”, which lists artists hits based on various sources, and also the Your Hit Parade chart published by the popular radio show, are treated as the most reliable guides as to what were “hits”. This 46-track 2-CD collection comprises all Teddy Wilson’s 38 career hits based on those sources under his own name, along with selected A & B sides from this era. It Includes the No. 1 hits “Carelessly” and “You Can’t Stop Me From Dreaming”, and other Top 3 hits with “The Way You Look Tonight”, “Pennies From Heaven” “There’s A Lull In My Life” and “Remember Me”. It features performances by featured vocalists Billie Holiday, Ella Fitzgerald, Helen Ward, Red Harper and others, and recordings with major jazz names likes Roy Eldridge, Lionel Hampton, Ben Webster, Cootie Williams, Harry Carney, Benny Goodman, Gene Krupa, Cozy Cole, Harry James, Buck Clayton and more, featured in his ensembles. Looking at his career from a particular angle, his hits, it’s a great showcase for an important and influential artist.

Thomas Anders' viertes Remake-Album der Modern Talking-Reihe ist »In The Middle Of Nowhere« und soll Anfang August 2025 erscheinen.

When this came out in 2003, it marked the first studio release by the Yardbirds in 35 years. In that time, of course, the personnel had changed quite a bit. Even those inclined to get excited by reunions of great bands should know right off that it includes just two original members, drummer Jim McCarty and rhythm guitarist Chris Dreja (though Jeff Beck plays guest guitar on one number, "My Blind Life"). Rounded out by three "new" members (including bassist John Idan, whose lead singing sounds fairly close to original Yardbirds vocalist Keith Relf in style and tone), the record also features guest lead guitar cameos by Jeff Baxter, Joe Satriani, Steve Vai, and Brian May, with Johnny Rzeznik of the Goo Goo Dolls singing lead on "For Your Love"…

The name of Hiawatha's Wedding Feast cantata may not mean much to today's music lovers, apart from a few enthusiasts, but you have to imagine that up until the last war, before the work and its composer fell into oblivion, this superb score was one of the most famous and frequently performed choral pieces in the United Kingdom. Samuel Coleridge-Taylor, then barely twenty-three, had suddenly burst onto the scene in a British musical milieu that was still somewhat conservative, and caused a sensation with this fresco inspired by the native American myths put into words by Longfellow (a poem that is said to have inspired Dvořák when writing his “Symphony from the New World”!) The first part, Hiawatha's Wedding Feast, is particularly famous, and was first recorded in 1930 under the baton of Sir Malcolm Sargent. The conductor, who was particularly fond of this work, repeated the experiment at the head of the Philharmonia Orchestra some thirty years later to give a reference version, made available for the first time for the celebrations around the composer’s 150th anniversary.

Claudio Arrau (1903-1991) is a pianist fully deserving of the epithet 'legendary'. His rigorous intellect and sense of the sublime found expression in his transcendent technique and sumptuous, yet lucid sonorities. The recordings in the recently released 24CD collection - made for Columbia Graphophone, Electrola, HMV, Parlophone and Telefunken between 1921 and 1962 - represent a significant portion of his legacy and are indispensable to his extensive discography. They can now be heard in their full glory, thanks to a process of restoration and HD remastering using the original tapes (for recordings from the LP era) or the best available source (for 78s). Among them are four world premiere releases: Beethoven's Piano Sonata No. 30 op. 109, a Chopin étude, and two pieces by Liszt.

The charming young soprano Martina Janková has amid fierce international competition established a firm position within her category. Since 1998 she has been a soloist of the Zurich Opera, working with conductors of such renown as Gardiner, Harnoncourt, Fedoseyev, Herreweghe and Rattle. Under Gardiner, she has also participated in recordings of Bach's cantatas. Yet, as in the case of this album, she keeps returning to the song repertoire, which simply suits her voice perfectly. Her Haydn is unpretentious, yet she captures all the nuances of expression and colour amid the spectrum of moods of individual songs.