Talk about a sidelong entrance into a pop career: when the pressures of trying to make it as a star in her own right became too much after the release of 2010's We Are Born, Sia Furler became a songwriter for some of pop's biggest names – but the hits she helped create, like David Guetta's "Titanium" and Flo Rida's "Wild Ones," ended up making her famous anyway. Even if it wasn't her plan, her time behind the scenes helped make the pop landscape into a place more hospitable to her charms. On 1000 Forms of Fear, it's clear that her time as a hitmaker for others not only brought her quirks into the mainstream, but also made the songs she kept for herself catchier. To be fair, We Are Born began this transformation; its unexpected but winning mix of new wave, synth pop, and R&B brought newfound polish to her highly personal style.

Gallagher's second album for Chrysalis – and last with his longstanding trio of Lou Martin (keyboards), Rod De'Ath (drums) and Gerry McAvoy (bass) – was a milestone in his career. Although Calling Card was produced by Deep Purple bassist Roger Glover and not surprisingly contained some of his most powerfully driving rockers, tracks like the acoustic "Barley & Grape Rag" and the jazzy, soulful, finger snapping title cut – a perennial concert favorite – found the Irish rocker not only exploring other musical paths, but also caught him on one of his most consistent songwriting streaks ever. Even "Do You Read Me," the muscular opening track, is a remarkably stripped-down affair that adds subtle synths to the rugged blues rock that was Gallagher's claim to fame. While "Moonchild," "Country Mile," and "Secret Agent" displayed catchy hooks, engaging riffs, and raging guitar work (the latter adds a touch of Deep Purple's Jon Lord-styled organ to the proceedings), it's the elegant ballad "I'll Admit You're Gone" that shifts the guitarist into calmer waters and proves his melodic talent was just as cutting on quieter tunes.

Long before the raw power of punk icon Iggy Pop became legend, his first incarnation as Iggy Stooge of proto-punk trailblazers The Stooges roared into being. The essence of punk years before the genre existed, The Stooges' furious music was a howling, visceral, fuzztone-drenched, and unprecedented vortex of sound, as evidenced on their revolutionary self-titled, John Cale-produced 1969 debut album. Their bracing follow-up, Fun House portrayed their evolution into a fiercer, stronger band with Iggy's primal vocals and mad brilliance more potent than ever. Each immortal album is now remastered and twice as amazing with a second disc of rarities and previously unreleased tracks.

Perhaps the pairing of Cassandra Wilson and Billie Holiday carries a whiff of inevitability, but there's nothing predictable about Coming Forth by Day. Released to coincide with Holiday's centennial in 2015, Coming Forth by Day explicitly celebrates Lady Day by drawing upon standards she sang in addition to songs she wrote, but Wilson deliberately sidesteps the conventional by hiring Nick Launay as a producer. As a result of his work with Nick Cave, Launay mastered a certain brand of spooky Americana, something that comes in handy with the Holiday catalog, but Coming Forth by Day is never too thick with murk.

Spanning repertoire from the Classical to the contemporary and some 30 years of the Alban Berg Quartett's career, these recordings evince the achievement of an ensemble whose very name honours both the tradition and innovative musical spirit of its home city, Vienna. Founded in 1970, it soon became recognised as one of the defining quartets of the 20th century and went on to make two landmark recordings of the complete Beethoven cycle, the first in the studio, the second live at Vienna's Konzerthaus (presented here in both CD and DVD versions). This 70-disc set, which in addition features DVDs of Schubert and a live performance in St Petersburg, also documents the Alban Berg Quartett's collaborations with such artists as Sabine Meyer, Elisabeth Leonskaja, Alfred Brendel, Rudolf Buchbinder and Philippe Entremont.

Night Out is the 1979 debut studio album by Ellen Foley, a long-time backup vocalist for Meat Loaf. Seven of the nine tracks were cover versions of Foley's favorite songs, while two were co-written by Foley, one of which was "We Belong to the Night", which hit #1 in the Netherlands and #31 in Australia around Christmas of 1979. The musicians were mostly from Ian Hunter's touring band for his 1979 album You're Never Alone with a Schizophrenic, with the addition of Australian musician Kerryn Tolhurst on slide guitar. Hunter and ex-Spiders From Mars guitarist Mick Ronson produced the album. Ronson suggested the two Philip Rambow songs and the piano backing for the final track "Don't Let Go", written by Hunter.

This Was is the debut studio album by the British progressive rock band Jethro Tull, released in 1968. Recorded at a cost of £1200, it is the only Jethro Tull album with guitarist Mick Abrahams, who was a major influence for the sound and music style of the band's first songs. When the album was released the band was already performing at the Marquee Club in London, where other successful British groups, such as the Rolling Stones and The Who, had started their careers.

Hunting High and Low is the debut studio album by Norwegian new wave band A-ha. Released on 1 June 1985 by Warner Bros. Records, the album was a huge commercial success selling more than 7.8 million units worldwide, peaking at number 15 on the US Billboard 200 and reaching high positions on charts worldwide. The album was recorded at Eel Pie Studios in Twickenham, produced by Tony Mansfield, John Ratcliff and Alan Tarney. The group was nominated for Best New Artist at the Grammy Awards in 1986, making A-ha the first Norwegian band to be nominated for a Grammy.

The Youngbloods is the debut self-titled studio album by the American rock band the Youngbloods, released in 1967. It was also reissued in 1971 under the title Get Together after the popular single from the album. The album peaked at number 131 on the Billboard 200 although two years later the single "Get Together" reached number five and sold more than a million copies. The Youngbloods was an American rock band consisting of Jesse Colin Young (vocals, bass, guitar), Jerry Corbitt (vocals, guitar, keyboards, harmonica), Lowell "Banana" Levinger (guitar and electric piano), and Joe Bauer (drums). Despite receiving critical acclaim, they never achieved widespread popularity. Their only U.S. Top 40 entry was Chet Powers' "Get Together".

From its kaleidoscopic array of junk-culture musical styles to its assured, surrealistic wordplay, Beck's debut album, Mellow Gold, is a stunner. Throughout the record, Beck plays as if there are no divisions between musical genres, freely blending rock, rap, folk, psychedelia, and country. Although his inspired sense of humor occasionally plays like he's a smirking, irony-addled hipster, his music is never kitschy, and his wordplay is constantly inspired. Since Mellow Gold was pieced together from home-recorded tapes, it lacks a coherent production, functioning more as a stylistic sampler: there are the stoner raps of "Loser" and "Beercan," the urban folk of "Pay No Mind (Snoozer)," the mock-industrial onslaught of "Mutherfuker," the garagey "Fuckin' With My Head (Mountain Dew Rock)," the trancy acoustic "Blackhole," and the gently sardonic folk-rock of "Nitemare Hippy Girl."

The ensemble of the Bachakademie, the Gaechinger Cantorey, plays under the direction of Hans-Christoph Rademann. For this purpose it comprises the instrumentalists and up to four vocalists per voice, including the soloists, all specialists in their field, as Bach himself wished it. This is a vision that only now can be fulfilled in it's ideal form. To this day the music will inspire it's audience to devotion, challenge them to reflect and make them glad. It addresses questions of faith and comes to terms with particular situations of human life.The Internationale Bachakademie Stuttgart is performing all these cantatas in chronological order exactly 300 years later. The performances follow the latest state of Bach research documented in the new 2022 catalogue of Bach's works BWV3.

Hailed as “fresh, different and exhilarating” by the San Francisco Chronicle, violinist Grace Park, winner of the prestigious Naumburg International Violin Competition, presents her debut solo recording with the Prague Philharmonia directed by Emmanuel Villaume. The album features a new orchestration of Dvořák’s Four Romantic Pieces, a rarely played work of exceptional lyrical beauty, alongside the composer’s Romance, which showcases Park’s ability to blend heart-stirring warmth with absolute technical mastery.

Third is a live and studio album by the English rock band Soft Machine, released as their third overall in June 1970 by CBS Records. It is a double album with a single composition on each of the four sides, and was the first of two albums recorded with a four-piece line-up of keyboardist Mike Ratledge, drummer and vocalist Robert Wyatt, saxophonist Elton Dean, and bass guitarist Hugh Hopper. Third marks a shift in the group's sound from their psychedelic origins towards jazz rock and electronic music. "Facelift" is a live recording by the previous line-up of the band, a five-piece with Lyn Dobson on saxophone and flute alongside Ratledge, Wyatt, Hopper and Dean. The remaining tracks are studio recordings by the four-piece line-up, augmented by a few session musicians. Jimmy Hastings (brother of Pye Hastings from Caravan) makes substantial contributions on flute and clarinet on "Slightly All the Time", free-jazz violinist Rab Spall (then a bandmate of Wyatt's in the part-time ensemble Amazing Band) is heard on the coda to "Moon in June", and Nick Evans (who had been a member of Soft Machine during late 1969 when they spent a short time as a seven-piece band) makes brief appearances on trombone in "Slightly All the Time" and "Out-Bloody-Rageous".

T-Square is a Japanese jazz fusion band that was formed in 1978. They became famous in the late 70s and early 80s along with other Japanese fusion bands. Its most successful lineup included guitarist Masahiro Andoh, bassist Mitsuru Sutoh, saxophonist, flutist and EWI player Takeshi Itoh, keyboardist Hirotaka Izumi, and drummer Hiroyuki Noritake. They are known for songs such as "Truth", "Japanese Soul Brothers", "Takarajima", and "Omens of Love" among others. "Truth" was used as the theme for Japan's Formula One (F1) racing events from 1989 to 2000. An Arrangement of said tune, "Truth 21c" was used as the theme for Japan's F1 2001 and 2002, respectively, and other remixes of "Truth" were used from 2003 to 2006.

1994 compilation on Repertoire featuring 32 tracks from 1968-1993, plus an extensive booklet, detailed tracknotes by Colin Cooper, full discography & rare photos. Packaged as two standard jewelcases within a slipcase, featured tracks include their #3 1977 smash 'Couldn't Get ItRight', the top 20 hit 'I Love You' and a live version of'Don't Start Me Talking'.