After a string of hits, Unborn Child was a mistake coming from the Seals & Crofts camp when it did. Blatantly anti-abortion, it did little to help their careers and nothing in the way of chart success. But one must consider that it does hold good music in its grooves, and with today's attitudes changing, perhaps this isn't as harsh as it first appeared to be.
It's possible to hear the progression of soft rock through the music of Seals & Crofts, the duo who recorded some of the genre's perennials. Over the course of the 1970s, Seals & Crofts evolved from a gentle folk-rock duo to purveyors of slick, polished pop, two sounds that became inextricably associated with the Me Decade. Practitioners of the Baha'i Faith - at the height of their fame in the mid-'70s, they'd extol its virtues to fans - the duo were drawn to the quieter aspects of rock music, developing a signature sound distinguished by their easy melodicism and mellow vibe…

Avalon is the eighth and final studio album by English rock band Roxy Music. Released in May 1982, it was recorded in 1981–82 at Compass Point Studios in Nassau, Bahamas, and is generally regarded as the culmination of the smoother, more adult-oriented sound of the band's later work. It was the band's most successful studio album, reaching No. 1 in the UK (for 3 weeks) and staying on the album charts for over a year. Although it only peaked at No. 53 in the United States, Avalon endured as a sleeper hit and became the band's only million-selling record in that country, ultimately receiving a platinum certification.

Collection includes: Placebo (1996); Without You I'm Nothing (1998); Black Market Music (2000); Sleeping with Ghosts (2003); Meds (2006).

The highly personal and often chimerical piano music of Robert Schumann requires a confident interpreter who can enter the music with full awareness of the composer's quirks, yet not become so involved with their strangeness that he gets lost. For this Virgin release, the brilliant Piotr Anderszewski has chosen two works that show the extremes of Schumann's divided personality: the youthful and playful Humoresque, Op. 20, and the late, madness-tinged Morning Songs, Op. 133. In between them is the sober set of Studies for the Pedal Piano, Op. 56, which, in its serious counterpoint and controlled expressions, stands apart from Schumann's wild mood swings and emotionally turbulent music. Because these three works are seldom performed and are open to fresh possibilities, Anderszewski has free reign to explore the whimsy and sorrow of the Humoresque, the intellectuality of the Studies, and the brooding of the Morning Songs, and the range of his comprehension and expression is wide indeed.

UK archive release. An anthology of all surviving '60s recordings by The Syn, key players on the London summer-of-'67 underground circuit and the starting point for prog legends Yes. Active from late 1965 as an Action-style mod/Motown band, The Syn embraced psychedelia with some legendary theatrical shows during their Marquee Club residency and a brace of flower-power singles for Deram before slowly evolving into Yes. Those four Deram sides - 'Created By Clive', 'Grounded', 'Flowerman' and '14 Hour Technicolour Dream' - are joined by a clutch of rare recordings from the period, including a five-minute rehearsal excerpt of stage favorite 'The Gangster Opera', an earlier recording of 'Flowerman', a pre- Deram acetate of the unissued-at-the-time 'Merry-Go-Round' and two tracks by pre-Syn band The Selfs. The CD also includes some post-Syn recordings, including a brace of songwriting demos by singer Steve Nardelli, keyboardist Andrew Pryce Jackman and bassist Chris Squire as they attempted to set up a production company at the height of Squire's success with Yes. With a foreword by Phil Collins (a huge fan during their Marquee days), many previously unpublished photos and a new 5000 word essay, 'Flowerman' is an essential purchase for admirers of both vintage British psychedelia and the band Yes.

Digitally remastered collection. Led by Cliff Ward (subsequently better known as ‘70s singer/songwriter Clifford T. Ward), Worcestershire-based band the Secrets (AKA. Simon's Secrets) released a glorious rush of witty, vibrant, hook-laden, sub-three minute pop nuggets between 1966 and 1968. This release features half-a-dozen previously unissued recordings, including hitherto unknown-to-exist Ward songs 'Poor Johnny' and 'Looking Down The Glass'. It also includes two versions of his song 'Path Through The Forest', subsequently turned into a UK psych classic by the Factory.

"Jazztronical (Contemporary Jazz with a Hint of Electronica and Classical Influences)" is a compilation album released by Irma Records on May 29, 2017. The album consists of 26 tracks that blend jazz, electronic, and classical music elements. (Contemporary Jazzy Music With Electronical Influences)" is a compilation album released by Irma Records on March 29, 2017. The album consists of 25 tracks that blend jazz, and electronic music elements.

He’s known universally as Australia’s King of Country, and it’s a title to which Slim Dusty can lay an unchallenged claim.
Slim Dusty has been recognised not only for his music, but also for the role he’s played in documenting Australia’s unique spirit and history through his songs, as well as his contributions to Australian culture and society. He received both an MBE and an Order of Australia, was chosen as an Australian National Living Treasure by public vote, and in 1999 was named both Australia’s Father of the Year and the inaugural Senior Australian of the Year. During his lifetime, Slim released more than a hundred albums, selling more than seven million records and earning over 70 gold and platinum album certifications. Running through this unparalleled catalogue is a rich seam of common themes; prominent among these is Slim Dusty’s songs detailing the world of trucking.

The funny thing about tributes to Eric Clapton is that Clapton has done them himself, and he would be the first to tell you that his career has been built on his attempts to emulate his own blues heroes, and that would be true to a point, but Clapton was wise enough, or maybe, at times, just lucky enough, to show how those players he loved could be translated into the electric age of rock, and he did it with a tremendous amount of raw elegance and style more often than not. This tribute set doesn't stretch things too far, and while cuts here like James Ryan's version of "Badge" and Brian Tarquin's version of "Sunshine of Your Love" are big, boisterous, and fun to hear, they work largely because of the original and defining riffs that Clapton devised to carry these songs in the first place. The real gem of the disc is a live, horn-filled take on "How Blue Can You Get" (listed as one of two "bonus" tracks here) by B.B. King. One imagines it would be the track Clapton would go to first, next, and last. King makes the song his. No one else here does that.

The world-renowned Wiener Philharmoniker, under the masterful direction of Herbert von Karajan, presents a stunning album featuring two beloved works by Czech composers Antonín Dvořák and Bedřich Smetana. Dvořák's iconic "Symphonie No. 9 »Aus Der Neuen Welt = From The New World = Du Nouveau Monde«" showcases the composer's signature blend of Bohemian folk melodies and lush Romantic harmonies. Meanwhile, Smetana's "Moldau" takes listeners on a picturesque journey through the Czech countryside, evoking the beauty and majesty of the famous river. With the perfect combination of virtuosity and emotion, this album is a must-have for any classical music lover.

In 1656 the new Elector Johann Georg II reorganised musical life, and he attached great importance to the fact that Italians were now active in the decisive positions. Probably the most important of them was Giuseppe Peranda, who was appointed Kapellmeister by the Elector. Together with his colleague Vincenzo Albrici, he also established the new tone in sacred music, characterised by a stronger emphasis on the melodic and above all by a rhythmic liveliness previously unknown in sacred music. The Basler Abendmusiken make audible what caused so much sensation in Dresden at the time.

During the band's heyday in the late '70s and early '80s, Black Uhuru was one of the most unique and influential reggae bands in the world. This was partly due to their distinctive vocal sound - which was dominated by the keening wail of Michael Rose and the haunting harmonies of American expatriate Puma Jones - but in large part it was also due to their backing band, which was led by the legendary drum-and-bass duo of Sly Dunbar and Robbie Shakespeare.

Unlike many bands and albums that sample, play tribute or just plagiarize an artist's oeuvre, this one does so with the artists blessing. The premise is, Todd provides the original vocal tracks and of course, his genius at songwriting, and various mixmasters of the new millenium provide thoroughly different takes on the instrumental tracks. The potential of the album is that it could turn some more modern focused listeners onto the genius of Mr. Rundgren.

Handpicked tracks and an unreleased gem from Brian Eno.

In early 1990, when she was one of the biggest pop stars in the world, Gloria Estefan suffered a broken vertebrae when her tour bus was struck in an accident, and her miraculous recovery from that near tragedy greatly informed her successive album, Into the Light. Though often noted as a "comeback" album, that descriptor is misleading. Yes, Into the Light is a comeback – a comeback from her accident, that is. It's not a comeback in the sense that her previous album, Cuts Both Ways, had been a failure or even a disappointment. No, Estefan hadn't fallen off, so to speak, with that album. Quite the opposite. It was a monster hit, breaking into the Top Ten and scoring a couple of high-charting ballads: "Don't Wanna Lose You" and "Here We Are." It also marked a drastic shift away from the unabashed dance-pop of her Miami Sound Machine output toward a more respectable adult contemporary appeal. This shift affected not only her image but also her audience as a result, and that shift is even more apparent on Into the Light. In fact, the shift seems complete, as this is full-fledged adult contemporary album with serious themes and toned-down production.