Brand new album from Dave Stewart (Eurythmics) performing acoustic covers of Bob Dylan songs.

One of the greatest pieces of sacred music in history, in one of its legendary versions, in a brand-new high-resolution remastering restoring it to its original glory: what more could you ask for? Carlo Maria Giulini’s 1978 rendition of Mozart’s Requiem is a milestone of the discography, all at once solemn and grandiose, thanks to a Philharmonia Chorus at the peak of its powers. It features one of the most iconic quartets of vocal soloists with Helen Donath, Christa Ludwig, Robert Tear and Robert Lloyd!

Immerse yourself in the captivating world of modern jazz with Art Hirahara's latest album "Peace Unknown" from Posi-Tone Records.

Sinuous rhythms, conversational singing, and, most of all, intricate, bluesy guitar playing characterize Cale's performances of his own songs. This compilation, covering 11 years of recording, includes the songs Eric Clapton, who borrowed heavily from Cale's style in his 1970s solo work, made famous: "After Midnight" and "Cocaine".

King's last Shelter album was his most elaborately produced, with occasional string arrangements and female backups vocals, although these didn't really detract from the net result. Boasting perhaps heavier rock elements than his other Shelter efforts, it was characteristically divided between blues standards (by the likes of Willie Dixon and Elmore James), Leon Russell tunes, and more R&B/soul-inclined material by the likes of Ray Charles and Percy Mayfield.

Leon Russell never quite hit all the right notes the way he did on his eponymous debut. He never again seemed as convincing in his grasp of Americana music and themes, never again seemed as individual, and never again did his limited, slurred bluesy voice seem as ingratiating. He never again topped his triptych of "A Song for You," "Hummingbird," and "Delta Lady," nor did his albums contain such fine tracks as "Dixie Lullaby." Throughout it all, what comes across is Russell's idiosyncratic vision, not only in his approach but in his very construction – none of the songs quite play out as expected, turning country, blues, and rock inside out, not only musically but lyrically. Yes, his voice is a bit of an acquired taste, but it's only appropriate for a songwriter with enough chutzpah to write songs of his own called "I Put a Spell on You" and "Give Peace a Chance." And if there ever was a place to acquire a taste for Russell, it's here.

The compositions recorded here are a significant example of musical taste as it spread to the other side of the English channel in the first decades of the 18th century. England welcomed the ‘Corellian’ style with such enthusiasm as to attract onto its banks a rich line-up of instrumentalists, singers, impresarios who with varying degrees of success contributed to the spread of the new Italian style based on the Sonata and the Concerto Grosso canonized in Corelli’s Op. V and VI. Francesco Geminiani arrived in London in 1714. As a direct disciple of Corelli, it was easy for him to become part of the musical life there in London, soon gaining great fame as a violinist.