Mr. Mister was an American pop rock band most popular in the 1980s. The band's name came from an inside joke about a Weather Report album called Mr. Gone where they referred to each other as "Mister This" or "Mister That", and eventually selected "Mr. Mister." Mr. Mister may be considered as representative of the melodic sound of 1980s pop rock. The band consisted of Richard Page on lead vocals and bass guitar, Steve George on keyboards/backing vocals, Pat Mastelotto on acoustic and electronic drums/percussion and Steve Farris on guitars/backing vocals. Welcome to the Real World was the second album by band Mr. Mister. Released in 1985, it climbed to #1 on the Billboard album charts during early 1986.

They were originally named 'The Hot Chocolate Band' by Mavis Smith, who worked for the Apple Corps press office. This was quickly shortened to Hot Chocolate by Mickie Most. Hot Chocolate started their recording career making a reggae version of John Lennon's "Give Peace A Chance", but Brown was told he needed permission. He was contacted by Apple Records, discovered that John Lennon liked his version, and the group was subsequently signed to Apple Records. The link was short-lived as The Beatles were starting to break up, and the Apple connection soon ended.

The cliché about singer/songwriters is that they sing confessionals direct from their heart, but John Lennon exploded the myth behind that cliché, as well as many others, on his first official solo record, John Lennon/Plastic Ono Band. Inspired by his primal scream therapy with Dr. Arthur Janov, Lennon created a harrowing set of unflinchingly personal songs, laying out all of his fears and angers for everyone to hear. It was a revolutionary record - never before had a record been so explicitly introspective, and very few records made absolutely no concession to the audience's expectations, daring the listeners to meet all the artist's demands. Which isn't to say that the record is unlistenable. Lennon's songs range from tough rock & rollers to piano-based ballads and spare folk songs, and his melodies remain strong and memorable, which actually intensifies the pain and rage of the songs…

After decades of drifting aimlessly in a musical equivalent of Superman's Phantom Zone, virtuoso guitarist Uli Jon Roth (who along with countryman Michael Schenker virtually wrote the Teutonic guitar hero scrolls during his spell with the Scorpions) finally stumbled upon a viable new creative framework with which to express his still formidable but often mislaid talents. Doing away with the psychedelic Hendrix worship that had branded him both a pale imitation and dated anachronism throughout the '80s and '90s, Roth rediscovered sure footing via the Transcendental Sky Guitar concept, which combined his expertise on a custom-designed instrument (the seven-string Sky Guitar) with backing by a full-fledged orchestral ensemble…

Vocalist Stacey Kent may or may not be "the greatest ballad singer in half a century," as her PR claims, but her straightforward renditions of these by-request ballads are not at all generic. What makes them consistently delightful is her unique sound and delivery. There's a certain brassiness, a trumpet-like pointedness, in her voice, as well as a host of endearing idiosyncrasies. Listen to her pronounce the word "idea" in George and Ira Gershwin's "Isn't It a Pity?" Or deliver these remarkable lyrics from the same song: "What joys untasted!/You, reading Heine/Me, somewhere in China." And later, "My nights were sour, spent with Schopenhauer." Kent knows how to make every tune fit her own musical persona. Dreamsville includes a number of seldom-heard gems, particularly "You Are There" by Johnny Mandel and Dave Frishberg, "You're Looking at Me" by Bobby Troup, and the ever-stunning title track by Henry Mancini…

This long sought-after release celebrates the 50th anniversary of Woodstock, by giving fans a front-row seat to relive CCR’s stirring, hour-long set as it was performed that historic night in August of 1969. Kicking off with “Born on the Bayou,” the album features the band’s biggest singles of the day, plus selections off their first three LPs, including “Commotion,” “Ninety-Nine and a Half (Won’t Do)” and “Bootleg.” Full of creative energy, John, Tom, Stu, and Doug delve deep into their music, playing extended improvisations of “I Put a Spell on You,” “Keep on Chooglin’” and “Suzie Q.”

Since 2004 alone, some 12 new member states have joined the European Union within the enlargement process. Along with the new territory, the EU has also integrated the history, culture and tradition of each of these countries. A national anthem often reflects one of the most significant chapters in a country’s history and in some cases it refers to the very beginnings of its existence. This new recording of the national anthems of all current EU member states affords the listener the possibility of discovering the diversity concealed beneath the unifying blue flag. Besides possible use on international occasions and during state celebrations, our CD also provides an excursion into the history and traditions of each of the EU countries.

"From the Witchwood" marked the start of the Strawbs transition in earnest from a primarily acoustic folk based band, to a prog rock orientated band with strong folk influences. The album represents Rick Wakeman's last venture with the Strawbs, before he was headhunted by Yes. In retrospect, his keyboard skills whilst apparent, were somewhat suppressed in the Strawbs, with only brief displays of his virtuosity such as those on "Sheep" and "Glimpse of heaven". It was perhaps inevitable that when the opportunity arose, he would move on to a band where he would be afforded more room to exercise his skills. Rick Wakeman and Dave Cousins have however remained firm friends, collaborating more recently on the Strawbs flavoured "Hummingbird" album. In all, superb album, which finds the band exploring new pastures and starting their migration to a major prog folk band.

Strange Days 1967 - A Work In Progress is an album of early alternate mixes from the Strange Days sessions before the overdubs were complete. The recently unearthed tracks were mixed by Bruce Botnick back in '67, and feature new liners by him as well.

Perhaps Tom Waits' most cohesive album, Bone Machine is a morbid, sinister nightmare, one that applied the quirks of his experimental '80s classics to stunningly evocative - and often harrowing - effect. In keeping with the title's grotesque image of the human body, Bone Machine is obsessed with decay and mortality, the ease with which earthly existence can be destroyed. The arrangements are accordingly stripped of all excess flesh; the very few, often non-traditional instruments float in distinct separation over the clanking junkyard percussion that dominates the record. It's a chilling, primal sound made all the more otherworldly (or, perhaps, underworldly) by Waits' raspy falsetto and often-distorted roars and growls…

The common denominator of the recordings of these three virtuoso concertos is the name of the soloist. In 1932 František Hanták, still a student, was called up by Václav Talich to assume the post of first oboe of the Czech Philharmonic Orchestra. Hanták was concurrently a member of Czech Nonet and later on also performed with the Czech Wind Quintet and the ground-breaking ensemble Ars rediviva. Following on from the previous CD comprising concertos by Mozart, Richard Strauss and Martinu (SU39552), this album features other gems from Hanták’s discography in Supraphon’s archives: the legendary 1951 recording of Kramár’s Concerto in F major, the “Haydn” concerto (with the yet to be clarified question of its authorship), with the Prague Symphony Orchestra and Mozart’s lovely Sinfonia concertante, K 297b, with the Czech Philharmonic Orchestra conducted by Václav Smetácek (1965).