Retaining the buoyant musical feel of Paul Simon, but employing a more produced sound, There Goes Rhymin' Simon found Paul Simon writing and performing with assurance and venturing into soulful and R&B-oriented music. Simon returned to the kind of vocal pyrotechnics heard on the Simon & Garfunkel records by using gospel singers. On "Love Me Like a Rock" and "Tenderness" (which sounded as though it could have been written to Art Garfunkel), the Dixie Hummingbirds sang prominent backup vocals, and on "Take Me to the Mardi Gras," Reverend Claude Jeter contributed a falsetto part that Garfunkel could have handled, though not as warmly.

3CD box set presented with enhanced booklet. Musical visionaries Keith Emerson and Greg Lake planned to re-form ELP in 1984, however drummer Carl Palmer was unavailable. Into the frame stepped the legendary Cozy Powell, best known for his work with Rainbow and Whitesnake. Included is the band's one and only studio release: 'Emerson Lake and Powell' featuring three bonus tracks, their live album 'Live in Concert' and a CD of rehearsals, 'The Sprocket Sessions', only previously released in the 90s as a bootleg. The collection includes sleeve notes by Jerry Ewing, editor of PROG Magazine, who takes a forensic look at the band's short but impactful history. The band's self-titled studio album delivers material familiar in style to ELP with long progressive rock tracks, mellow ballads, and a classical theme ('Mars, the Bringer of War' by Gustav Holst, a piece previously performed by Lake during his tenure in King Crimson). All recordings have been re-mastered by renowned engineer Andy Pearce. This collection has been curated with the blessing of the Emerson, Lake and Powell families. If you are a fan of ELP, you cannot afford to have this part of the Emerson and Lake history missing from your collection.

Here's a treat for your ears: a new mix from our catalogue, but with a twist. Most of the tracks are newly arranged, reheated & respiced! An hour of mostly new music, with a dash of house flavor. An
energetic and playful tour through the world of Caravan Palace, a journey between the past and the present.
If you still have to call it "electro swing", this time it's more "electro" than usual. This is mainly due to the remix work of Shiny Mob (Arnaud's solo project). No big claims - just an hour of our own musical enjoyment. It will make you smile, move your body and maybe discover something you missed (or forgot). This is the third mix like this. But this time it's available on all platforms for everyone to play, anywhere! And… we've actually sneaked in some unreleased tracks. Enjoy!

Pages was an American pop rock band active during the late 1970s and the early 1980s. Richard Page and Steve George had been working together for years in and around Southern California and had done sessions, backing vocals, written songs, for such as Michael Jackson, Kenny Loggins, Patti LaBelle, Rick Springfield, The Pointer Sisters, Donna Summer etc. Before the well knowed Mr. Mister, they recorded 3 albums for Epic and Capitol Records under the name Pages. The band consisted of Richard Page and Steve George on vocals and keyboards supported by various studio musicians, some of whom from time to time were considered part of the band.

This album from Warner Classics stands out with selections from Previn’s classical repertoire.Famous sections from The Nutcracker (such as Miniature Overture, Waltz of the Snowflakes, etc.). Cinderella, Op. 87 – especially the “Summer Fairy” segment, which stands out and inspired the album's title. Poetic and dramatic classical works such as A Midsummer Night’s Dream, Le Tombeau de Couperin, Romeo and Juliet, and An Alpine Symphony. Selections from composers like Prokofiev, Berlioz, Mendelssohn, and Elgar.

If Wishbone Ash can be considered a group who dabbled in the main strains of early-'70s British rock without ever settling on one (were they a prog rock outfit like Yes, a space rock unit like Pink Floyd, a heavy metal ensemble like Led Zeppelin, or just a boogie band like Ten Years After?), the confusion compounded by their relative facelessness and the generic nature of their compositions, Argus, their third album, was the one on which they looked like they finally were going to forge their own unique amalgamation of all those styles into a sound of their own.

In celebration of the 25th anniversary of one of the best-selling albums ever, The Backstreet Boys are back with Millennium 2.0. This 2CD Deluxe Edition features all the original hits like "I Want It That Way," "The One," and "The Perfect Fan," along with 13 bonus tracks, including live and alternative versions, demos, and the never-before-heard track, "Hey." With brand new cover art, photos and "Thank Yous" from the band, Millennium 2.0 is a must-have for any fan.

In Zeiten, die unberechenbar und abenteuerlich sind, kommt das achte Studioalbum der Hannoveraner heraus: »Celebrate Nothing« heißt es und es ist ein Kontrapunkt, das Gegenteil von Nichts, eine Feier, eine Freude, eine musikalische Renaissance: 12 Songs wurden geschrieben, mit Kreativität und viel Fantasie, mit Charme und Chuzpe: »Circle Of Desire« ist ein schneller Indie-Rock, absolut live-tauglich mit My-Fist-Your-Face-Qualitäten, »Falling« besticht durch eine Northern-Pop-Atmosphäre, die englischen Midlands lassen grüßen, »Last Call« ist ein bühnengerechtes Flugzeugabsturzdrama im Breitwandformat; das titelgebende »Celebrate Nothing« suchen ein verloren gegangenes Soft-Rock-Gefühl und dann eine Ballade wie »Better Now«, das in seiner Form einen 90er-Jahre-Terry-Hoax-Instinkt befördert; dazu Up-Tempo mit »Don't Need Somebody« und ein Metropolen-Appeal bei »Screwed Without You«. »Welcome To Tomorrow« spielt mit Funk-Anleihen und einem ungestümen Impro-Ende und »Meanwhile« kracht wie ein Grunge-Song zu Seattle-Zeiten.

Featuring 10 brand new piano based compositions.'Piano Composed’ is Howard Jones’ third piano-based album.
With this collection, he has taken a different approach to the first two which were ‘one-off’ improvisations on piano. His friend BT encouraged him to compose a piano piece every day. Over a period of time, Howard accumulated about 15-20 pieces that he thought he could develop. During the lockdown period of time, he spent several months polishing the pieces into ten finished tracks that he was happy with.

For their only UK appearance of 2024, Sam Smith joined the BBC Concert Orchestra for a retrospective look at their seminal debut solo album In the Lonely Hour. Ten years on from its original release, the album’s autobiographical tracks on the theme of unrequited love are reimagined with full orchestral support.

Record Store Day 2025. If you're looking for melodies, structured compositions, pleasant harmonies, songs you can whistle, and serenades for social gatherings — seek elsewhere. This is Triple-A Ra: Audacious, Aggressive, Adventurous. In the collection we've titled Stray Voltage, Ra is not so much composing music as painting soundscapes with electronic keyboards. Ra doesn't simply play these consoles — he attacks, cajoles, and pounds them. Stray Voltage compiles unissued electronic peregrinations during the 1970s and '80s, pressed on frosted orange vinyl!
This is a 2025 Record Store Day release.

Zorn’s compositions for classical soloists with rhythm section are among the most successful and powerful meetings of classical and jazz ever conceived—completely notated virtuosic scores for classical players augmented by improvisers who illuminate the music with surprise, support, and an imaginative unpredictability. Mining this magical world since 2010, the project reached its apotheosis in the acclaimed 2021 release Heaven and Earth Magick. Here that same quartet divides into different groupings to present a varied and dramatic program of new music at its complex, mischievous best. Joined by electronic wizard Ikue Mori on one track, Fantasma—Illusions from a Surrealist Mirror is an endlessly imaginative and compelling new project of dynamic cross-genre music from Downtown magus John Zorn.

This is a mightily expanded reissue of the 1969 album Alun Ashworth-Jones, containing everything from that rare LP, in addition to two 1969 songs that showed up on the 49 Greek Street compilation; nine live solo acoustic tracks from 1969 that were planned as part of a second LP that was not released at the time; and five studio solo acoustic tracks from 1971, again planned for a second LP, again shelved until the release of this CD. The chief attraction of the disc is the Alun Ashworth-Jones LP itself, which is beguiling, melodic, mild period British folk-rock. While it doesn't stick in the memory as much as what Donovan, Roy Harper, Al Stewart, John Renbourn, Bert Jansch, or Nick Drake recorded during the same era, it's a fair bet that fans of those acts will enjoy it. It has a similar mix of minstrelsy folk, a hint of blues, and imaginatively varied, understated backing from violin, flute, and some rock instruments…

Rock Workshop’s self-titled 1970 debut album and 1971 follow up ‘The Very Last Time’ re- issued. Audio from the album master tapes for the first time ever. Includes the first re-issue of the single versions of ‘You To Lose’ and ‘Born In The City’, also taken from the master tapes. Rock Workshop’s debut album features legendary singer Alex Harvey as one’s of the band’s two lead vocalists alongside Alan Greed. Harvey sings lead on ‘Wade In The Water’ and ‘Hole In Her Stocking’ and also on alternate takes of album tracks ‘You To Lose’ and ‘Ice Cold’, single B side ‘Born In The City’ and originally unreleased track ‘Let My Bluebird Sing’.

Jeremy Pelt is two years away from his 50th birthday, and released his first album as leader (Profile) in 2002. In that time, he has created a prodigious body of work. This album marks his 25th album as leader, and he has been sideman to many artists including, Wayne Shorter, Cedar Walton, Al Foster and Mingus Big Band. Stylistically, his playing is a mix of Clifford Brown, Freddie Hubbard and electric-era Miles Davis.
And like Miles, Pelt does not believe in simply going over the same old musical ground. ‘To me, my music is a living, breathing organism that is meant to grow,’ he states boldly in the album’s short liner note, ‘I’m not interested in “new” for the sake of “newness.” Rather, I’m infatuated with disparate perspectives which continue the story.’ Having said that, Pelt is not averse to reworking old tunes, and on this album there are four of them…