Sun Ra and His Arkestra at Inter Media Arts, April 1991 is a very good live date from late in the bandleader's career. At this point in 1991, Sun Ra had suffered a stroke. He was confined to a wheelchair and didn't sing any longer, but his keyboard skills and ability to lead the band seem undiminished. It's a typically wide-ranging set list with chestnuts from Ellington and Fletcher Henderson mixed in with space chants and other Arkestra fare. The band sounds fantastic, with John Gilmore getting solo spots not only on tenor but some nice clarinet as well and, as usual, Marshall Allen tears up "Prelude to a Kiss." The sound quality is excellent (this was originally a radio broadcast), as is the set list. It's a shame Ra was no longer able to speak and sing at this point, as that was always a special part of any Arkestra show, but this recording proves that he was absolutely driven musically up until the end. This isn't the place to start your Sun Ra collection, but it's a great set that fans are sure to enjoy.

THE CLASSIC 1985 BRIXTON BROADCAST• By the end of 1985, Pete Townshend had been off the road with The Who for three years. The pivotal British Rock band had done a farewell; tour in 1982, but had reformed for Live Aid in summer ’85. And despite pleas from both Roger Daltrey and John Entwistle to reform and tour again, the next proper Who reunion would have to wait until 1989. In the meantime, Townshend was determined to keep his solo career on track, which had been propelled by the success of radio hits like ‘Rough Boys,’ ‘Let My Love Open the Door,’ and ‘Slit Skirts.’n• The charity show featured on this CD took place at London’s Brixton Academy on 2nd November 1985, featuring Townshends legendary ‘Deep End’ band, with Pink Floyd guitarist David Gilmour, a crack rhythm section and The Kickhorns five-piece brass section, making a perfect complement to Townshend passionate vocals and manic guitar runs. The concert, which also aired on the King Biscuit Flower Hour in 1985, contains all 17 tracks played that night, including a few featuring Pink Floyd guitarist David Gilmour, and keyboardist John Rabbit Bundrick. Opening with a rare-Who B side (from the bands 1967 Sell Out LP), Townshend kicks off with ‘Mary Anne With the Shaky Hands’ a song that was banned on many radio stations when it was first released because it deals with the joys of young girlfriends willing to please their boyfriends with the use of a single hand.

Genesis had just released what was to become their best-selling album, Invisible Touch, a few months prior to this remarkable concert was performed at the Forum, in Los Angeles, on October 15th 1986. Having moved into a more pop-oriented direction in the early '80s, Genesis was now attracting even more new fans, particularly MTV viewers who enjoyed their sometimes a little silly, but often inventive videos. At the same time, they held onto a loyal fan base that stretched back to their days as an art rock band. • Riding this momentum, Genesis played five consecutive nights at the Forum in October of ‘86. This excellent recording was made on Wednesday, the third night of the run. There's a little tension early in the show when lead singer Phil Collins tells the crowd they'll be playing some new songs. Some members of the audience boo, though some applaud. Phil then says they may play a few old tunes as well, and the audience roars. This little dialogue tellingly reflects the conflict between the fans of the new poppier style, and those who preferred the older, more progressive rock sound. Both fan groups were there in full force at this show. • The band had an incredibly complex, colourful, and dynamic light show, featuring the most Vari-lites ever used in a lighting rig. Vari-lites are small lights that can change direction and colour very quickly, and Genesis was the first band to use them in 1981.

Although Filter's Title of Record was a creative step forward, Richard Patrick described the album's recording process as an exigent one, where everyone constantly butted heads. To the band's surprise, when they began working on The Amalgamut two years later, they encountered the exact opposite. The band, along with longtime producer Ben Grosse, felt the most open and creative they had in years. With two successful releases and two years of solid touring behind them, Filter allowed themselves the freedom to write and record new material at their own pace. After embarking on a cross-country road trip with his acoustic guitar and witnessing the September 11th terrorist attacks and Columbine High School shootings on television with the rest of America, Richard Patrick poured his inspiration into some of his most sincere and revealing material to date.

Quincy's Home Again is an album by Quincy Jones with performances by Harry Arnold's Orchestra. The album was recorded in Sweden in 1958 and released by Metronome label. The album was also released in the U.S. as Harry Arnold + Big Band + Quincy Jones = Jazz! by EmArcy. AllMusic gave the album four stars, calling it "an excellent effort featuring a hard-swinging Swedish band that deserved to be better known in the U.S".

Box Set includes Exclusive Mini Book, Photo Prints, Poster & Deluxe CD. Revival is the second solo studio album by American singer Selena Gomez. It was released on October 9, 2015, by Interscope and Polydor Records as a follow-up to Stars Dance (2013). It is her first album released under her new recording contract with the labels, after completing her contractual obligations with previous label, Hollywood Records, with the compilation album For You and the single "The Heart Wants What It Wants", in 2014. Gomez has cited artists such as Janet Jackson and Christina Aguilera as influences on the record, a pop and electronic dance music album with a tropical beach sound. Lyrically, the album discusses themes of love, heartbreak, and confidence. The album also features a guest appearance from American rapper ASAP Rocky and collaborations with producers such as Rock Mafia, Hit-Boy and Stargate. Revival received generally positive reviews from critics, who appreciated its overall production and Gomez's vocals.

When Eraserhead premiered in 1977, it didn’t just mark the beginning of David Lynch’s singular career—it rewired the language of underground cinema. A nightmarish journey through industrial decay, existential dread, and fractured identity, the film remains one of the most haunting works ever committed to celluloid. Shot in stark black and white, Eraserhead unfolds like a fever dream—where sound, space, and emotion bleed into one another in an uncanny, hypnotic dance. But what truly sets Eraserhead apart, even beyond its disquieting visuals, is its sound. David Lynch, working closely with sound designer and technician Alan Splet, constructed an aural landscape as vital and disturbing as any of the film’s images. The soundtrack is not built around traditional music, but rather an evolving tapestry of ambient industrial noise: distant hums, howling winds, metallic drones, mechanical grinding, and eerie silences that stretch time to its breaking point. Splet and Lynch manipulated everyday sounds—recording radiators, engines, air currents—to create a dense sonic fog that reflects the inner turbulence of the protagonist, Henry Spencer, and the collapsing world around him.

Deluxe three CD + Blu-ray edition. The album was originally recorded in 1979 with sessions taking place for an intended follow up album by Bill's recently formed group RED NOISE. However, EMI Records, Bill's then record label, declined to release the recordings and the material remained unreleased. Four recordings appeared as the 'Do You Dream in Colour' EP on his Cocteau label in 1980. The following year Bill licensed the original stereo mixes of the album to Mercury Records who issued the album in the Spring of 1981. A ground-breaking record, 'QUIT DREAMING AND GET ON THE BEAM' reached a peak of number seven on the UK charts and is to date Bill's most commercially successful album. This limited and expanded edition boxed set features a newly remastered version of the original album mix, but also features an additional 53 tracks drawn from new stereo & 5.1 Surround Sound mixes by Stephen W Tayler of all the surviving recording sessions from 1979, along with a previously unreleased radio session from March 1981, a BBC JOHN PEEL session from June 1981 and a collection of rare single tracks from the era.

André Rieu and Johann Strauss Orchestra featuring Michel Tirabosco, Michel Tirabosco, André Rieu and Johann Strauss Orchestra featuring Micaëla Oeste, Micaëla Oeste, André Rieu and Johann Strauss Orchestra featuring Anna Majchrzak and Micaëla Oeste, Anna Majchrzak, André Rieu and Johann Strauss Orchestra featuring Tanja Derwahl, Tanja Derwahl, André Rieu, Johann Strauss Orchestra and The Vrijthof Brass Players featuring Micaëla Oeste, André Rieu, Johann Strauss Orchestra and The Platin Tenors featuring Madieke Schoots, Anna Majchrzak and Micaëla Oeste, Madieke Schoots

Werner Müller, who took over as director of the RIAS TANZORCHESTER in Berlin in 1949 at the age of just under 30, got the whole of Germany swinging and boogie dancing! Hardly any other orchestra rocked as hard as this team. This double album features no fewer than 24 hits for dancing and swinging! An absolute must for every dance orchestra fan!

This is another absolute gem, in which Herve Niquet and his ensemble, Le Concert Spirituel, show sparkling variety. (Classic CD)

Expressing his own cultural identity, guitarist Thibaut Garcia combines Rodrigo's archetypally Spanish Concierto de Aranjuez with a declaration of l'esprit français: Alexandre Tansman's neoclassical Musique de cour, inspired by the court of Louis XIV. Garcia's heritage is Spanish, but he is French, born in the city of Toulouse, where this album was recorded with the Orchestre National du Capitole de Toulouse and the young British conductor Ben Glassberg. It is completed by four solo pieces by Regino Sáinz de la Maza, the guitarist who gave the premiere of the Concierto de Aranjuez in 1940.

Originally released in 1966, Bernard Haitink's vivid recording of Gustav Mahler's Symphony No. 3 in D minor is coupled here with a 1973 performance of Das klagende Lied; since these are among the least performed and least familiar works in Mahler's catalog, the pairing is mutually beneficial to each, and listeners who have neither in their collections would do well to consider snapping up this affordable set. Perhaps the only flaw should be mentioned up front: though virtually no tape hiss is audible, there is a bit of an acoustic "vacuum" around the sound of the musicians, suggesting that the analog masters have been cleaned up a bit too efficiently and some resonance seems lost.

Giovanni Antonini, virtuoso flautist and orchestral conductor, is the founder of the Italian ensemble Il Giardino Armonico, which burst on the baroque musical scene in 1985; together they have amassed an impressive discography.
With Antonini as soloist in a programme of his own devising recorded between 2011 and 2017, a generous bouquet of the Concerti per Flauto: RV 433 (‘La Tempesta di Mare’), plus the Concertos RV 441, 442 443, 444, and 445, and an amazing version of ‘Cum Dederit’, a solo from Nisi Dominus RV 608, for the chalumeau, the predecessor to the modern-day clarinet.

Three years on from their acclaimed debut album, Ash In Realms of Stone Icons, Atlanta, GA progressive blackened metal band Tómarúm return with Beyond Obsidian Euphoria on April 4 via Prosthetic Records. Following extensive North American touring since 2022, Tómarúm’s sophomore full-length in the next chapter in the group’s ever-evolving search for inner meaning, strength and peace. Where Ash in Realms of Stone Icons served as a prologue in the band’s continuing narrative thread, Beyond Obsidian Euphoria marks the beginning proper of Tómarúm’s story. Thematically a concept album that follows immediately after the events of their first fulllength, Beyond Obsidian Euphoria finds Tómarúm reaching out from the depths of depression and despair for transcendence and triumph on the other side of woe…