Long May You Run is not a Neil Young solo album. It is credited to "The Stills-Young Band," which is to say, Stephen Stills and his band with Young added, and the two divide up the songwriting and lead vocals, five for Young, four for Stills. The pairing, though it proved short-lived and had, in fact, ended before this album was released, must have seemed commercially logical. Like Young, Stills had seen his record sales decline after a successful period following the 1970 breakup of CSNY. So had erstwhile partners David Crosby and Graham Nash, but they had returned to Top Ten, gold-selling status in the fall of 1975 with their Wind on the Water duo album. Why couldn't Stills and Young do the same thing? Maybe they could have (and, actually, this was the first gold album for either in two years) if they had made a better record together…

You don't have to imagine any image of the mellow and full voices of Jazz divas. Just open your ears and enjoy it with ease. The four-dimensional floatation of electronic particles insinuates and creates the vivid appearances for the improvisation sound in modern times. Nu-Jazz Divas takes perfect interpretation of voices and extraordinary recording quality as main considerations and displays the absorption and remake of traditional Jazz in electronic generation. The two CDs contain the nuances between "Happy Hour" and "After Hour". The Cha Cha beats mixed with Funk, the inseparable House and Soul, even the blood linkage of Fusion and Urban, they all exquisitely express the variable characteristics of Jazz, which can be uplifting and exultant or soothing and enchanting. Artists include Alice Russell, Parov Stelar, Dephazz, P-Jay, Mo'Horizons, Nils Krogh, the Quantic Soul Orchestra and many others.

Geordie's second album, 1974's Don't Be Fooled by the Name, was a bit of a letdown after their debut, which merged the swagger of hard rock with the tuneful bombast of blue-collar glam acts typified by Slade. In some respects, Don't Be Fooled suggests Geordie were aiming for something a bit more mature and adventurous than they achieved on their debut, and they didn't entirely fail – they reveal a tough, bluesy side on their cover of "House of the Rising Sun," a number that suits Brian Johnson's industrial-strength pipes, and the "St. James Infirmary" lift in opening cut "Goin' Down" leans toward the same direction.

From the huge amount of bands participating in the rebirth of UK prog rock in early-80's, Abel Ganz can place themselves among the best ones. Formed in 1980 in Glascow, Scotland, under the forces of bassist Hugh Carter and keyboardist Hew Montgomery, they started playing live around Glascow, having Malky McNiven on guitars and Kenny Weir on drums. The growing fame brought singer Alan Reed on the band, a bit later to be found on Pallas line-up. The quintet recorded their debut ''Gratuitous flash'' in 1983, originally released on cassette in 1984. The 70's feeling ofGenesis blended with the new digital technology is the main characteristic of this album. Most of the compositions have an evident symphonic approach, not far from what IQ were creating around the same time. McNiven's style includes lots of Steve Hackett-inspired guitar hooks mixed with some intricate melodies in the typical British prog style of the 80's…

Lully's 1685 Roland, on a subject apparently chosen by Louis XIV–its message is that loyalty to one's country and fighting battles is more important and noble than earthly love–was a great hit and played on-and-off in France and other European countries until 1750. The plot involves Angelique's vacillating love for Médor. She vacillates due to the fact that Médor is of "obscure lineage" and therefore beneath her station. He has undying, wild love for her. Roland adores Angelique also, but while she admires his knightliness, she is otherwise not interested. After Médor threatens suicide, Angelique gives in; they marry to great festivity at the close of Act 3.

This piece, a divertimento for string trio (violin, viola, and cello, was composed in 1788, the same year as the E-flat, G-minor, and Jupiter symphonies and the little C-major piano sonata, four of Mozart's best-known and greatest pieces. This divertimento is relatively little-known, yet it is the equal of those far-better-known pieces. Mozart was at the absolute height of his powers as a composer.

Our new complete recording of the organ works of Johann Pachelbel, the most important composer of the Southern German organ tradition, concludes with a total of three albums – all of them once again in SS and with first-class organists performing on selected organs. Our three protagonists, Michael Belotti, Christian Schmitt, and James David Christie, have produced enthralling recordings on which they demonstrate their expertise in performances on various outstanding historical instruments. This final volume of our complete edition adheres to the same policy as Vols. 1 and 2: it too is based on the new collection and edition of the composer’s extant oeuvre.

Hendrix had gone so long between albums, seemingly adrift stylistically at various times, that there's no telling exactly what direction he was finally going to end up working toward. This is a superb album, and a worthy if very different, earthier successor to Electric Ladyland's psychedelic excursions - the later tracks, ironically enough, cut at that album's long promised and long-delayed studio namesake - and also show him working in some genuinely new directions. For starters, Hendrix's voice emerges here as a genuinely powerful instrument in its own right - his voice was never as exposed in the mix of his songs as it is here; partly this is because Hendrix and engineer Eddie Kramer never finished embellishing the songs, or completed the final mixes…

The second ECM album from this Polish-Swedish-British edition of the Tomasz Stanko Quartet follows the critically-heralded Matka Joanna. As Jazz Journal wrote, 'Trumpeter Stanko's vibrant breadth of tone and poetic feeling for cross-rhythmic drama are second to none.' Leosia marks a further progression, incorporating six first-rate Stanko compositions in his brooding 'Slavic' style, darker than the darkest Miles (and incorporating a tribute to Lautréamont, literature's Count of Darkness), as well as bracing and exploratory duo and trio improvisations, and solos of the higherst calibre by all concerned. The group has an unusual claim on idiomatic completeness; it seems to summarize, in highly original manner, many of the important developments of jazz of the last 30 years…