Bridge Over Troubled Water was one of the biggest-selling albums of its decade, and it hasn't fallen too far down on the list in years since. Apart from the gospel-flavored title track, which took some evolution to get to what it finally became, however, much of Bridge Over Troubled Water also constitutes a stepping back from the music that Simon & Garfunkel had made on Bookends – this was mostly because the creative partnership that had formed the body and the motivation for the duo's four prior albums literally consumed itself in the making of Bridge Over Troubled Water. The overall effect was perhaps the most delicately textured album to close out the 1960s from any major rock act. Bridge Over Troubled Water, at its most ambitious and bold, on its title track, was a quietly reassuring album; at other times, it was personal yet soothing; and at other times, it was just plain fun.

After more than 20 years, Nightingale's celebrated fourth full-length, "Alive Again", is available again, remastered by songwriter/frontman/producer Dan Swanö (Opeth, Katatonia, Oceans Of Slumber).
Originally released only on CD in 2003, “Alive Again” starts the build-out of Nightingale's harder rock tendencies as they bridge '70s rock, AOR, prog and metal. The group's international profile also saw them pull in friend Arjen Lucassen (Ayreon, Star One) to guest on "Falling". “Alive Again” features stand-out tracks "Shadowman", "The Glory Days", "Shadowland Serenade" and the 11-minute saga "Eternal".

Very Truly Yours was released in 1955 and was the first album that Jimmy Scott recorded for the Savoy label. After spending the better part of a decade singing in ensembles, first with Lionel Hampton and then with the New Orleans bandleader Paul Gayten, Scott was poised to make a name for himself as a solo artist. These dozen songs, executed with a small jazz combo supporting him (including Charles Mingus on bass), find Scott in beautiful voice, confidently investing himself in well-chosen covers as well as some of his own great originals. From the opening number ("Imagination"), it's clear that you're hearing a rare and expressive voice.

Carol of Harvest were founded in the Middle-Franconian town of Fürth in 1976 and played folk with psychedelic touch. Their only LP was released in the summer of 1978 as a very small edition of only 200 copies, on the sought-after Brutkasten label. Label owner Peter Klimek regards the LP as the best record released on his label. It is reminiscent of the early 1970s rather than 1978. The LP is in such great demand that it is meanwhile traded at € 2,000 - 3,000 in mint condition. There are now several new editions of the album, as LP and as CD, about half of them illegal. The CD on Garden of Delights contains a 32-page booklet with many as yet unreleased photographs and, for the first time ever, seven bonus tracks. The last four of them are studio recordings featuring Iris Meyer, succeeding Beate Krause as a singer.

Proof that punk was more about attitude than a raw, guitar-driven sound, Suicide's self-titled debut set the duo apart from the rest of the style's self-proclaimed outsiders. Over the course of seven songs, Martin Rev's dense, unnerving electronics - including a menacing synth bass, a drum machine that sounds like an idling motorcycle, and harshly hypnotic organs - and Alan Vega's ghostly, Gene Vincent-esque vocals defined the group's sound and provided the blueprints for post-punk, synth pop, and industrial rock in the process. Though those seven songs shared the same stripped-down sonic template, they also show Suicide's surprisingly wide range. The exhilarated, rebellious "Ghost Rider" and "Rocket U.S.A." capture the punk era's thrilling nihilism - albeit in an icier way than most groups expressed it - while "Cheree" and "Girl" counter the rest of the album's hard edges with a sensuality that's at once eerie and alluring…

The second instalment of the complete keyboard works by Johann Wilhelm Hässler. Johann Wilhem Hässler lived from 1742 to 1822, the transition of the Baroque to the Classical era. His style embraces the Empfindsamkeit initiated by W.F. Bach and C.Ph.E. Bach and the heritage of J.S.Bach. These different idioms perfectly coexist to create his complex language, however, Hässler progressively abandoned the baroque heritage to develop a more modern style embracing a more classical aesthetic. The works on these 4 CD`s clearly mark the stylistic development of Hässler, from Baroque polyphony and counterpoint to the graceful classical language in Haydn style.

Vladimir Jurowski and the Rundfunk-Sinfonieorchester Berlin continue their exploration of Mahler with a new recording of Das Lied von der Erde, on which Dame Sarah Connolly and Robert Dean Smith provide the vocal contributions. Residing somewhere between symphony and song cycle, Das Lied is one of Mahler’s most profound and loved works, marking an important step in the composer’s career, as well as in his private life. Jurowski approaches the piece as Mahler’s deliberate move from a “heroic” Beethovenian model towards a more “lyrical”, Schubertian attitude.

La Tempestad se ha presentado al público en Festivales como los de Aranjuez, Cádiz, Sevilla, Marbella, Murcia, Santillana del Mar, Valladolid, Almería, Daroca, Zaragoza, etc. Sus miembros, formados en importantes conservatorios europeos (Toulouse, Viena, Amsterdam, La Haya), han formado parte de Al Ayre Español, La Real Cámara, El Concierto Español, Amsterdam Baroque Orchestra, Orchestra of the XVIII Century, European Union Baroque Orchestra, La Stravaganza, Orquesta Barroca de Sevilla, etc., con quienes han actuado por España, Europa, Israel y China.