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.

Renowned songwriter, musician, artist and best-selling author Josh Ritter releases his new album “I Believe In You, My Honeydew”. The new record features ten new tracks produced by Sam Kassirer and features Ritter alongside his Royal City Band: Kassirer (piano, organ, synthesizer, accordion), Zachariah Hickman (acoustic and electric bass, thumb piano, mandolin), Rich Hinman (guitars, pedal steel, mandolin) and Ray Rizzo (drums, percussion).

Expanded edition of the 1975 album; the follow-up to the band's international breakthrough album Moontan. Remastered from the first-generation IBC Studios master tapes, featuring unreleased track from the Switch sessions, single edits, B-sides and various previously unreleased outtakes and early versions & mixes. Includes a 16-page booklet with essay, memorabilia & photos. Founded in 1961 by George Kooymans and Rinus Gerritsen, Dutch rock band Golden Earring (or Golden Earring's, until 1969) started off as a beat band, experimented as a psychedelic quartet and finally became a heavy rock group.

New 2016 remaster, includes booklet with 2016 band interwiews & rare band photos.
Upon its release, the 1973 LP Brain Salad Surgery had been hailed as Emerson, Lake & Palmer's masterpiece. A long tour ensued that left the trio flushed and begging for time off. Before disbanding for three years, they assembled a three-LP live set (something of a badge of achievement at the time, earned by Yes in 1973 with Yessongs and, somewhat more dubiously, Leon Russell with Leon Live). Welcome Back My Friends to the Show That Never Ends gives a very accurate representation of ELP's shows at the time, including their uncertain sound quality. It isn't that the group didn't try hard to give a good show; they did, but left to just his two hands, without the use of multi-tracking and overdubs to build layer-upon-layer of electronic keyboard sounds…