Terry Riley’s name will always be associated with his breakthrough work In C, but his influence on modern music has stretched far beyond minimalism. Both of the works on this recording reveal Riley’s spirit of exploration and his close collaboration with remarkable musicians. Commissioned by the Nashville Symphony, The Palmian Chord Ryddle is a kind of musical autobiography in which electric violin pioneer Tracy Silverman’s “one-man string quartet” sets the pace for the sparse, translucent orchestration. At the Royal Majestic is another recent example of Riley’s work with a symphony orchestra and a virtuosic soloist, in this case organist Todd Wilson. Its title refers to “the mighty Wurlitzer housed in grand movie palaces,” and the music draws on a wide variety of genres including gospel, ragtime, Baroque chorales, and boogie.

This 1987 best-of compiles the work from A&M efforts that marked a stylistic change from her Vanguard years, yet a pretty consistent level of success. Relying on the work of other artists seemed to be more hit and miss during the A&M era. In Baez's interpretations of songs like Bob Dylan's "Simple Twist of Fate" and "Forever Young" and John Lennon's "Imagine," her pitch-perfect tone might strike some as unemotional, but her singing is engrossing nonetheless. Not surprisingly, Baez sounds the best here with the tracks that deviate from weighty issues. "Gracias a la Vida" (sung in Spanish) and the haunting "Di Da" (with Joni Mitchell) have her giving off more charm and emotion than usual. "Children and All That Jazz," from her best-selling 1975 album Diamonds & Rust, has a gorgeous, heavily produced '70s L.A. pop/rock style that suited her voice. Unlike many greatest-hit sets, Classics, Vol. 8 also offers strong live performances, including "The Night They Drove Old Dixie Down" and the CD closing "Amazing Grace." Classics, Vol. 8 has the strength of a regular release effort and more than captures the time frame and the artist it's spotlighting.

Exodus is the ninth studio album by Jamaican reggae recording band Bob Marley and the Wailers, first released 3 June 1977 through Island Records following Rastaman Vibration (1976). Exodus is a reggae album, incorporating elements of blues, soul, British rock and funk. The album's production has been characterized as laid-back with pulsating bass beats and an emphasis on piano, trumpet and guitar. Unlike previous albums from the Wailers, Exodus thematically moves away from cryptic story-telling; instead it revolves around themes of change, religious politics, and sex. The album is split into two halves: the first half revolves around religious politics while the second half is focused on themes of sex and keeping faith. The album was a success both critically and commercially; it received gold certifications in the US, UK and Canada, and was the album that propelled Marley to international stardom. In 1999, Time magazine named Exodus the best album of the 20th century. In 2003, the album was ranked number 169 on Rolling Stone magazine's list of the 500 greatest albums of all time.

This retrospective of the legendary Cameroon saxophonist Manu Dibango includes 10 prime examples of his eclectic style, including his internationally successful hit, "Soul Makossa", the percolating percussion and layered brass of "Africadelic", and the '80s disco of "Sun Explosion".

Astrud Gilberto has never been properly anthologized by Verve Records; although they've released a number of compilations over the years, none of them have been definitive, and most of them have been rather skimpy. 1987's The Silver Collection, originally released only in Europe but later imported to North America, is an idiosyncratic selection. It omits "The Girl From Ipanema," her biggest hit, includes all 11 tracks from her 1965 release The Astrud Gilberto Album, and adds on a selection of singles and album tracks recorded from 1965 to 1970 with no particular logic. All that said, however, it's still one of the best compilations available of this idiosyncratic but brilliant singer's '60s material. Jazz purists turn up their noses at Gilberto, correctly pointing out her near total lack of technical ability. However, the Brazilian songbird's appealingly plain voice, with its deliberately wobbly pitch (the "desafinado" style celebrated in Antonio Carlos Jobim's song of that title), total lack of vibrato, and deadpan phrasing, is a delight for those attuned to its charms.

Most notable is a Liebestod of superbly controlled intensity. In the Narrative and Curse the exultant, passionate power of Varnay's singing exposes one hint of mannerism—a tendency to press too hard on certain syllables, and to seem, in consequence, an Isolde more unyielding than volatile. The difficulty a great Wagnerian can have in scaling her voice down is most noticeable in the first of the Wesendonk Lieder: Varnay is best in the rapt, inner intensity of No. 3, "Im Treibhaus". Such inner intensity is also abundant in the long extract from Act 2 of Tristan.

Conductor Yannick Nézet-Séguin is as well-loved by the public as he is appreciated by his peers, who awarded him the Canada Council for the Arts Virginia Parker Prize in September 2000. At the helm of the Orchestre Métropolitain du Grand Montréal since March 2000, Yannick Nézet-Séguin has worked tirelessly to broaden the scope of the orchestra’s involvement in a variety of venues, while always maintaining his own rigorous standards and keeping in close touch with the music-loving public.

This live recording brings a new and fresh light on Rossini's most famous works after Il Barbiere di Siviglia. The concert took place in Paris - Basilique de Saint-Denis, to celebrate the 150th anniversary of the work, first performed in March 1864, in Paris. The amazing quality of the solo voices (Julia Lezhneva, Delphine Galou, Michael Spyres, Alexander Vinogradov) meets the dynamic and delicate direction of Ottavio Dantone and is supported by the unique atmosphere of accentus chamber choir.

Vivaldi is best known as a composer of instrumental music, but the man has also written a lot of secular vocal music, from large-scale operas to the more intimate cantatas. "La Senna festeggiante" is not a real opera, but a 'serenata', a word derived from the Italian 'sereno' (clear). The genre was so named because the spectacles in question were performed outdoors on clear, warm summer nights. Serenatas were usually written by order of a nobleman or high clergyman, as part of large celebrations to mark a special event such as a birthday, the birth of an heir, a marriage, the arrival of an important person, and so on. They were usually performed in the principal's palace garden.

"The Best Of Jazz Fusion" is a compilation album released in 1994 under the Nectar (or Nektar) label. Compiled By – Nic Moran.

Joe Jackson's debut single, 'Is She Really Going Out With Him?', was not an immediate hit; however, by the time his debut album Look Sharp! Was released, the song had reached charts in the U.K. and U.S., earning him a gold record. For the follow-up, he produced the top 5 hit 'It's Different For Girls', Joe received the highest musical accolade of the Netherlands, the Edison Award. After two edgy new wave pop records, his next tracks included some reggae influences such as the tracks 'One to One' and 'Mad At You', while Jumpin' Jive - recorded with jazz musicians - was full of old jump blues and swing tunes. The huge commercial success came with his crafted pop songs 'Steppin' Out' and jazzy 'Breaking Us In Two' climbing the charts worldwide. Joe Jackson produced even jazzier hits in 1984 such as 'Happy Ending', (a duet with Elaine Caswell), 'Be My Number Two' and 'You Can't Get What You Want'. The album Big World (1986), a live album of entirely new material including 'Home Town', was recorded during six concerts.

One of the finest Aaron Neville compilations available, 2008’s two-disc GOLD presents highlights from the New Orleans-born singer’s decades-spanning solo career. Neville’s soulful, soaring voice is fully showcased on hits such as the emotive “Don’t Know Much” (with Linda Ronstadt), his easy-going version of Main Ingredient’s “Everybody Plays the Fool,” and Sam Cooke's “A Change Is Gonna Come.”

For listeners willing to overlook the fact that this Crusaders retrospective begins the story in 1970 – nine years after the combo began recording excellent hard bop and soul-jazz – the two-disc set Gold is just as good and nearly as thorough as the 1996 four-disc box Way Back Home. (Since the running time is only 17 seconds shy of 160 minutes, it's truly jam-packed.) Focusing on the '70s allows the set to dwell considerably on each record the group released during the decade that produced its most popular (although not most rewarding) music. After grabbing a pair of tracks from the Crusaders' two Chisa LPs of 1970-1971, the set moves on to the Blue Thumb years with multiple selections from every main album of the '70s – 1, The 2nd Crusade, Scratch, Chain Reaction, Free as the Wind. The material is primarily fusion and jazz-funk, moving into crossover jazz by the second disc, and while the group never quite matched great themes with great grooves, this is the easiest way to get to the heart of their discography. (Rare groove fanatics may agree or disagree with the inclusion of the shortened 12" version of "Street Life," although it still clocks in north of five minutes.)

The Choir of Girton College, Cambridge, continues its pioneering exploration of the music of the Italian Renaissance master Marc’Antonio Ingegneri (c. 1535/36–92) with a journey through the liturgical year, as mirrored in Ingegneri’s motets. A ‘concept album’ of Renaissance polyphony may be an unusual undertaking, but this one illustrates how Ingegneri took his lead from the emotions implicit in each major celebration of the church – from sorrow and awe to joy and jubilation – expressed in music of extraordinary beauty, belying the internal complexity that gives it its emotional power.

Anthology is a compilation album by The Alan Parsons Project. This compilation of songs was released by Arista Records in 1991, as part of their "Connoisseur Collection" series. Note that the tracks are in chronological order.