What is this Bryn Terfel collection, exactly, that contains "Simple Gifts," the beginning of Pergolesi's "Stabat Mater," "Send in the Clowns," and even "The Rose" (not the one e'er blooming, but the Bette Midler or Conway Twitty vehicle)? It is, per the back cover text, Bryn's "personal collection of sacred, spiritual, and meditative songs." The album still might seem like quite a hodgepodge to a browser reading the tracklist, but it is exactly the elusiveness of the thread connecting these songs that makes this a superior example of the crossover vocal species.

Chuck Berry is perhaps the defining musician of the early rock & roll era, the one figure responsible for the music's sound, style, and sensibility that created the blueprint for the generations that followed.

A double anthology from the celebrated Welsh opera and concert singer Bryn Terfel. At His Very Best takes in recordings from his recent duet album with tenor Rhys Meirion, several of Bryn's earlier albums on Wales's Saydisc label and a recording of a newly commissioned work performed together with the Rhuthun Choir.

A feisty 4CD clamshell box set exploring the melting pot of British indie dance music that shook the lager drenched dancefloors in the second half of the 1990s. A supersonic soundclash of iconic electronic outfits like The Prodigy, Fatboy Slim, Basement Jaxx, Leftfield, Death In Vegas, Moloko, Orbital and Bentley Rhythm Ace, alongside floor-fillers from indie titans like Blur, Shed Seven, Charlatans, Super Furry Animals, Supergrass, Tricky, Sleeper, Gomez, Radiohead and Cornershop. Over four hours of party tunes and afters grooves, packed with punchy remixes from Chemical Brothers, Arthur Baker, Norman Cook, Midfield General, Mint Royale and Lynch Mob. As Britpop exploded across UK culture, Cool Britannia ruled the airwaves and was plastered across the pages of magazines and newspapers. Music festivals were making their great comeback and DJs and dance acts were sharing stages and headline slots with the biggest guitar bands around. This compilation takes a slippery trip through the hedonistic tunes that were filling the dancefloors, fields, front rooms and bedrooms across Great Britain as the country drank, danced and partied towards a new millennium. Featuring over 50 cuts across 4CDs bouncing from Britpop to Trip Hop and bopping from Big Beat to Techno with a superb selection of relentless remixes, chart-topers and chilled beats thrown in for good measure.

A contemporary of Mozart, Johann Christoph Vogel also died at an early age. Forward looking in approach, this composer of a tormented disposition, sought to extend the operatic revolution undertaken by Gluck in the 1770s. First performed in 1786 at the Opéra de Paris, 'La Toison d’or' reveals that search for an expressive art which demanded an all-embracing involvement from the performers and supplied the music with a sometimes unbearable intensity for audiences of the time.

Recording Bach's six Cello Suites realized Emmanuelle Bertrand's most cherished dream. Her performance here features an exceptional instrument, built by Carlo Tononi in Venice in 1730. This cello, with it's deep and powerful sound, has been set up in 'Baroque' style (with gut strings and bow to match). In Bertrand's hands it proves to be the perfect choice for tackling one of the most impressive monuments in all western music.

Like Mozart, Brahms was a bit uncomfortable writing string quartets, where the desire to maintain an absolutely democratic discourse among the participants often led to overly dense textures and rhythmic heaviness. The extra viola part offered by the quintet medium, however, allowed both composers to relax a bit and write music with the richness of texture they both loved, without forcing. These two works really don't seem to get the attention that they deserve, either on recordings or in concert, but they are both vintage Brahms. Fortunately, Naxos seems to be dedicated to a complete survey of the chamber music of the great composers, and they are working with a very fine stable of artists.

Nicole Zuraitis created siren songs volume 1 with a clear purpose in mind: Celebrate women songwriters. It’s a concept she’d been thinking about for years. Her own success as a songwriter made the project even more timely: in 2024, she became the first artist, man or woman, to win Best Jazz Vocal Album at the GRAMMYs for a project of entirely original music and arrangements — her album How Love Begins.

Siren Songs Volume II continues a heartfelt tribute to influential women songwriters, offering an acoustic, minimally produced sound that spans multiple genres. With its first single "Rhiannon" released in May 2025, the project also aims to spotlight the ongoing issue of under-recognition and under-compensation of women in the music industry.

Five CD box set containing a quintet of original albums in card LP replica sleeves! Features "Pretenders" (1980); "Pretenders II" (1981); "Learning To Crawl" (1984); "Get Close" (1986) and "Last Of The Independents" (1994).

To celebrate the 150th anniversary of Janáček’s birth, this Decca Collector Edition brings together most of the composer’s chamber works and solo pieces plus his most popular orchestral works and the magnificent Glagolitic Mass in a superb digital recording with Riccardo Chailly and Wiener Philharmoniker. The recordings of the solo works and chamber pieces feature one of the world’s most distinguished ensembles: the London Sinfonietta and David Atherton. Their recordings were originally released as a 5-LP set in 1981 and many of these performances have not been available for several years; many also make their first international appearance on CD. This set provides the listener with all the essential non-operatic Janáček in one convenient collection.

This two-fer from the Australian Raven label is a part of a series of Delbert McClinton reissues. All of them come with new liner notes, session photos, and bonus tracks. These two albums, from 1980 and 1981, respectively, represent a renaissance for McClinton of sorts. While he never had a fallow period creatively, The Jealous Kind allowed him a renewed commercial viability even if it was short-lived. Both records were issued by the Muscle Shoals Sound imprint of Capitol Records and were produced by Barry Beckett with the Muscle Shoals rhythm section and horns. While the first disc is centered around diversity in its song choices – by everyone from Larry Henley to Bobby Charles to Van Morrison to Al Green to Jerry Williams – and took radical approaches to reinterpreting the material through soul, blues, funk, rock, and country, the latter chose hard-driving Southern-fried funk and R&B and a relatively close-to-the-vest approach in terms of material – most notably covers of "In the Midnight Hour" and Naomi Neville's "Lipstick Traces (On a Cigarette)".

Andrew Manze's interpretations of Vaughan Williams' Symphonies have been met with acclaim from audiences and critics alike. This third album in the series contains two masterpieces. The 5th Symphony of 1943 displaying a 'greatness of soul' as one commentator at the time wrote, draws on material for 'The Pilgrims Progress' from 1906. The 6th Symphony of 1944-7 stunned the audience at it's premiere - some tried to explain the works last movement as depicting a nuclear wasteland.

Cellist Wilhelmina Smiths second album release on Ondine continues exploring contemporary Nordic repertoire for solo cello. In her new album Smith has focus on Danish contemporary composers, Per Nørgård (b. 1932) and Poul Ruders (b. 1949). Both Nørgård and Ruders are known for their large-scale orchestral works. Nørgård, in particular, is known for his eight symphonies and has been hailed by many as one of the greatest living symphonists. It is therefore intriguing to look closer to his two very early lyrical solo cello sonatas, early masterpieces written just before completing his 1st Symphony.

During the early nineteenth century the new 1804 Viennese version of La Clemenza di Tito, was Mozart's most popular opera in Europe. However, in keeping with the practice during that period, it was performed in versions adapted to the times and the taste of the opera public and this is precisely the starting point for our recording's conductor Alessandro De Marchi. He would like to present Tito in the form in which it was staged and acclaimed in great houses from the Vienna Court Opera to the Milan Scala and from Dresden and Hamburg to Paris during the early years of the nineteenth century. Our recording is based on the acclaimed production at the Innsbruck Festival Weeks 2013 with the Academia Montis Regalis performing on historical instruments.