FIVE DISC SET (3 CD 37 tracks & 2 DVDs) Like the Boss (Bruce Springsteen), Southside Johnny aka John Lyon is from New Jersey, and of course the paths of the two and the members of the E-Street Band crossed many times. Especially with Steven Van Zandt aka Little Steven there was a long lasting friendship and Van Zandt produced the first three albums I Don't Want to Go Home (1976), This Time It's for Real (1977) and Hearts of Stone (1978) of Southside Johnny & The Asbury Jukes, which were strongly influenced by Rhythm & Blues.The band gave their first German concert in 1977 at Hamburg's club Onkel Pö, and in October 1979 they played together with Mitch Ryder and Nils Lofgren at the 5th Rockpalast Night at Essen's Grugahalle. WDR was there for Rockpalast and recorded the concert. On March 26, 1992, Southside Johnny & The Asbury Jukes gave a second concert for Rockpalast in Cologne's Live Music Hall, where Little Steven joined them on stage for four songs.

In the fall of 1972, The Allman Brothers Band was still grieving over the October,1971 motorcycle death of band founder and co-lead guitarist Duane Allman. Their future wasn't clear as a lot of their success was based on the interplay between Duane and Dickey Betts who ''rewrote the rules for how two rock guitarists can work together, completely scrapping the traditional rhythm/lead roles'' (Guitar World, 2009). That unique dynamic resulted in the release of ''Eat A Peach'' and ''At the Fillmore East'', to critical acclaim. The band turned to co-founder Betts who offered up ''Ramblin' Man'' and it was just the momentum needed. The upbeat country song resulted in the Allman's sole Top 10 song. ''Ramblin' Man'', peaking at #2 on Billboard's Hot 100. Dickey Betts was ranked #58 on Rolling Stone's 100 Greatest Guitarists of All Time list in 2003, and #61 on the 2011 list. He also wrote Allman Brother Band classics such as ''In Memory of Elizabeth Reed'' and ''Blue Sky'' that became radio and concert staples and they were pioneers of the emerging jam band scene with their mix of roadhouse blues and free form rock guitar solos, which again brought them enormous critical acclaim.

RARELY HEARD REHEARSAL BROADCASTS FROM 1966 & 1967 Cream made their unofficial live debut at Manchester s Twisted Wheel club on 29th July 1966. The group s debut album, Fresh Cream, produced by Robert Stigwood, was recorded in London between August and November 66, and released in December on React ion, Starwood s short lived label. Rehearsals for the album also took place in London during three sessions in August, September and November. The follow-up Cream album, Disraeli Gears - named after a roadie mis-pronounced the transmission system on a racing bike (derailleur gears) - was a quickly assembled affair that became a massive seller particularly in the US where it was the group s breakthrough record. Recorded in New York in May of 1967 and this time produced by future Mountain bassist Felix Pappalardi, who also co-wrote two of the record s tracks, the album came out less than a year after Cream s debut, in November 1967. Rehearsals again took place in London during March and April of 67. Six of the rehearsal sessions undertaken for Fresh Cream and Disraeli Gears were broadcast live on off-shore Pirate Radio during 1966 and 1967, the first time any such occurrence had taken place. These broadcasts are now featured in edited versions on this CD, the first time these rare recordings have been released.

Recorded in december 1970, “With (Junk-Saucepan) When (Spoon-Trigger)” is the first album by Mahogany Brain, led by street poet / underground film maker Michel Bulteau and Patrick Geoffrois. It shares the same raw aesthetics with the Velvet Underground and offers 12 savage and unhinged songs of distorted guitars with crude lyrics.

One imagines that this collection was aimed at the total neophyte listener – taken in any other context, this is an odd collection of single sides by one of the premiere singles bands of the 1960s and early '70s. Does it start at the beginning, with either "I'm the Face" or "I Can't Explain"? No. Does it encompass many of the freestanding singles issued by this band through 1972? No. Does it even offer any of the less well-known single sides from that period? No – apart from the three-and-a-half-minute single edit of "Won't Get Fooled Again," which was hardly a sterling example of the format or the genre. Instead, listeners get all of the most familiar hits, albeit in their original mono mixes where relevant: "Substitute," "I'm a Boy," "Pictures of Lily," "I Can See for Miles," "Pinball Wizard," "Squeeze Box," etc. The best of it overlaps with Meaty Beaty Big and Bouncy.

Bravo Hits Vol. 128 Entdecke Deine aktuellsten Hits auf 2CDs. Mit den Top-Tracks von Rosé, Bruno Mars - APT., Gracie Abrams - That's So True, Robbie Williams - Forbidden Road, Lola Young - Messy, Gigi Perez - Sailor Song, Lady Gaga -Disease oder Nina Chuba - Fata Morgana. Die größten Chartstürmer von Billie Eilish - Wildflower, David Guetta, Alphaville & Ava Max - Forever Young, BL3SS feat. bbyclose - Kisses , Nico Santos - Ray Of Light, Tate McRae - 2 Hands, Artemas - Fancy und viele mehr. Bravo Hits Vol. 128 - Nur Hits!

Harvey Averne is a legend in the music business. His track record runs from playing accordion in the post-war Catskills to working with Madonna in 1980s New York. But, it is as a producer of Latin music that his reputation rests. A man with an active mind he made Coco Records in his own image, focusing on not just one form of Latin music, but a fusion of salsa dura, via latin soul, disco, to latin pop. Like all the best latin labels he also made sure that there was room for the old greats as well as the emerging talent. The rewards were exceptional, 1975's Eddie Palmieri album 'The Sun Of Latin Music' won the first ever Grammy for Latin Music.This vinyl LP and extended CD represents the very best of Averne’s extraordinary Seventies output at Coco prior to his audacious attempt to sign Madonna at the close of the decade. Includes the incendiary “Nunca Contigo” featuring Lalo Rodriguez capturing the sound of New York salsa and winner of the 1975 Latin Grammy Award.

Steely Dan hadn't been a real working band since Pretzel Logic, but with Aja, Walter Becker and Donald Fagen's obsession with sonic detail and fascination with composition reached new heights. A coolly textured and immaculately produced collection of sophisticated jazz-rock, Aja has none of the overt cynicism or self-consciously challenging music that distinguished previous Steely Dan records. Instead, it's a measured and textured album, filled with subtle melodies and accomplished, jazzy solos that blend easily into the lush instrumental backdrops.

Dick Dale was already on the way to a full-scale comeback when Quentin Tarantino's film Pulp Fiction turned Dale's 1962 hit "Miserlou" into a major sensation. But there is much more to the King of the Surf Guitar than one hit, as this definitive anthology amply demonstrates. Better Shred Than Dead features instrumentals that show off Dale's dazzling, percussive technique and Middle Eastern and Latin influences ("Let's Go Trippin'," "Hava Nagila," "Miserlou," "Spanish Kiss") as well as some lesser-known vocal numbers. More recent material is also included, such as his 1987 duet with Stevie Ray Vaughan on "Pipeline," plus material culled from the first two albums of his comeback years and various other sources. All hail the king, back on his throne after far too many years. –Daniel Durchholz

Maestro di cappella in two conservatories in Naples, Francesco Durante was one of the prominent representatives of the eighteenth-century Neapolitan school. A unique case in the history of Neapolitan music, Durante did not write any opera and devoted himself exclusively to pedagogical works and to the composition of sacred and instrumental music. His Concerti per archi are among the most significant contributions to the genre of the orchestral concerto. They represent a summa of the early eighteenth-century Neapolitan style.

An impressive discography comprising more than 30 albums: That is the balance sheet of his more than 50-year musical career. The rock musician and singer Mitch Ryder has long since become a legend. With his band “Mitch Ryder & The Detroit Wheels”, he had his first hit in 1965 with “Jenny Take A Ride!”. Two years later, he tried it solo, but the hoped-for success failed to materialize. Disappointed, Ryder turned his back on music. However in the 70s, he became famous through his legendary appearance on the WDR Rockpalast night.

EXCEPTIONAL COVERS ONLY SHOW FROM METALLICA, IN THE WAKE OF GARAGE INC. 12 months on from Metallica s mega-selling Reload album, released in November 1997, came the band s covers compilation Garage Inc. Consisting of cover versions of the band s favourite tunes, alongside the previously released (but by 98, long out-of-print) $5.98 E.P. Garage Days Revisited, the album sold over 2.5milion copies in the US, and over 6 million worldwide. In the wake of the record s release Metallica played a number of dates around the US, the finest of which - according to most fans - came on 23rd November at the Electric Factory in Philadelphia, a gig recorded for live FM Broadcast and transmitted around the greater Pennsylvania area. Featuring a sterling set-list, largely made up of cuts from Garage Inc., the show was an extraordinary event, which the audience were clearly awe-struck by. Previously unreleased, this full concert from more than 20 years ago is now available on this CD for the first time.

Synchronicity is the fifth and final studio album by English rock band The Police, released in the United Kingdom on 17 June 1983. The band's most successful release, the album includes the hit singles "Every Breath You Take", "King of Pain", "Wrapped Around Your Finger", and "Synchronicity II". At the 1984 Grammy Awards the album was nominated for a total of five awards including Album of the Year and won three. At the time of its release and following its tour The Police were hailed as the "Biggest Band in the World". The album was number one on both the UK Albums Chart and the U.S. Billboard 200, and sold over 8 million copies in the U.S. Synchronicity was widely acclaimed by critics. Praise centred on its cohesive merging of disparate genres and sonic experimentation. Rolling Stone described "each cut on Synchronicity not simply a song but a miniature, discrete soundtrack." It has since been included on their lists of the "100 Best Albums of the Eighties" and the "500 Greatest Albums of All Time". In 2009, Synchronicity was inducted into the Grammy Hall of Fame.

Recorded in August 2022 at concerts given in Hamburg’s Elbphilharmonie by the Philharmonisches Staatsorchester Hamburg under Kent Nagano, this version of Johannes Brahms’s celebrated choral masterpiece will come as a surprise to many. The German Requiem is heard not in its usual seven movement version, but rather as it was first performed in Bremen Cathedral on 10th April 1868 (Good Friday) under Brahms’s direction, without the fifth movement for soprano and choir that was completed later that year. On the other hand, there are numerous interludes, instrumental and vocal, secular and sacred, by Bach, Tartini, Schumann and Handel – including pieces that were then regarded as essential parts of a Good Friday concert. Such a programme might seem unusual today, but these musical additions shed new light on Brahms’s work, which in this version manifests itself as what Umberto Eco might have described as an ‘open work’. Presenting the work in the form heard at the Bremen premiere is more than just a reconstruction: it enriches our understanding of this unique music.

The Great Sounds Of The Super Sounds Of The 70s – CDs with the greatest hits of the 70s. songs by The Sweet, Heatwave, The Real Thing and many more!