This album, the group's third, was where they showed just how far their talents extended across the musical landscape, from blues to R&B to classical rock. In contrast to their hastily recorded debut, or its successor, done to stretch their performance and composition range, A Salty Dog was recorded in a reasonable amount of time, giving the band a chance to fully develop their ideas. The title track is one of the finest songs ever to come from Procol Harum and one of the best pieces of progressive rock ever heard, and a very succinct example at that at under five minutes running time - the lyric and the music combine to form a perfect mood piece, and the performance is bold and subtle at once, in the playing and the singing, respectively…

Five CD box set. When Elton John started up his Rocket Records label in 1973, Kiki Dee was his first signing, and he produced the first album Loving And Free, utilizing his own band and a "who's who" of UK session musicians. In 1974, she formed the Kiki Dee Band, and again hit the charts with the single and album "I've Got The Music In Me". In 1975, she recorded an album in LA, Cage The Songbird - for reasons that will be revealed in the extensive annotation in this book set, this album was shelved and did not see a release until 2008. It now takes it's correct place in this collection of Kiki's recordings for the Rocket label. The summer of 1976 saw Kiki occupy the UK # 1 singles spot for six weeks with her old friend Elton, with "Don't Go Breaking My Heart". It was also # 1 in the US, where it sold over a million copies. Further success came with two more albums for Rocket, Kiki Dee (1977) and Stay With Me (1978), featuring the singles "Chicago" and "First Thing In The Morning". Containing all five albums and lavishly illustrated with photos and ephemera from Kiki's own collection, and with annotation by Alan Robinson based on a brand new interview, this media book package also features ten bonus tracks, including "Don't Go Breaking My Heart", and it's B-side "Snow Queen", on CD for the first time outside Australia.

After nearly three decades spent perfecting her multilayered harmony techniques and range of styles as a jingle singer, vocalist for Adiemus and session artist for the likes of George Michael, David Bowie, Tina Turner, and Seal, Miriam Stockley emerges with her debut solo recording, Miriam. An amalgamation of African inspired pop, Celtic folksiness, and classically tinged commercial pop, Miriam is a selection of strongly focused vocals embedded in a tapestry of curiously effective composition. Strings swell and swirl round the singer's potent vocals, reed instruments slice through the smooth flow of keyboards, drums and penny whistle set place and mood. Indicative of what is right with both adult contemporary pop and multiethnic easy listening, Miriam steers clear of easy categorization while remaining familiar enough to be commercially viable.

The name of Sviatoslav Richter (1915-1997) appears at the head of virtually everyone’s shortlist of the world’s great pianists. In the West, the legend began, then gathered force, during the 1950s, when it was rumoured that there was a pianist in Russia who caused even such formidable colleagues as Emil Gilels to exclaim in awe and amazement. Expectations were raised still higher when Julius Katchen and later Lazar Berman claimed that Richter was, quite simply, a nonpareil, a pianist whose titanic powers forbade even whispered comparisons.

Recorded Live at The Salt Palace, Salt Lake City, UT, USA 18th March 1984.
Obi Strip with Back Cover has Liner Notes inside written in Japanese. Center Of Eternity and Rock And Roll Rebel are spelled on the Bark Of The Moon studio release as "Centre Of Eternity" & "Rock 'N' Roll Rebel". Ozzy introduces the members of the band during track 8. Bob Daisley–Bass, Tommy Aldridge–Drums, Jake E. Lee-Guitars, Don Airey–Keyboards.

The rapid pace of recording in the early to mid 1960s meant that a lot of material fell by the wayside. However, the quality of the songs and performances at hand were not necessarily the cause. »Left In The Can« spotlights tracks that were recorded by hit recording stars (1960 -1969) but didn't manage to receive a contemporaneous release. Imagine a collection full of instantly recognizable tunes that you've never heard from the likes of Roy Orbison, Bobby Vee, The Ronettes and many others. 30 tracks with 18 tracks in stereo and a full colour 16 page booklet with rare pics and liner notes.

For this second recording in duo, Lucile Boulanger and Arnaud de Pasquale propose a journey to 18th-century Germany, in the marvellous setting of the Sans Souci palace where Frederick II of Prussia had established his court. This disc, reflecting the extraordinary conjuncture experienced by the court of Berlin under Frederick II, brings together some of the virtuosic works for viola da gamba and fortepiano by Carl Philipp Emmanuel Bach, Johann Gottlieb Graun or Ludwig Christian Hesse and attesting to the results of fruitful collaborations between the composers at that court.

John Dowland is one of England’s greatest composers. In his lifetime, he was acknowledged as an outstanding lutenist, and his songs have always been popular. Dowland’s distinctive hallmark as a songwriter is his uncanny skill at creating a suitable musical atmosphere for a poem. In 1610, John’s son Robert Dowland (1591-1641), a minor composer of the time, assembled a collection of works by third-party composers entitled A Musicall Banquet and put his own name to it. His father is the most famous of the composers included; there is a suggestion that he helped his 19 year-old son with assembling the collection, hoping that the attribution would launch the young man's musical career. The musical net of the collection is cast wide, with French and Italian composers as well as English. It was the first collection of lute songs to take this approach, presenting a cross-section of European solo songs c.1600.

To compile this list we asked the fans of the top songs they would like to hear on tour. Voila! We also included a song from our last CD. Hey Boys Sing Us A Song has become a new anthem for our time, which resonated with audiences across the country this year as we toured Canada from Halifax to Vancouver. Song #17 is teaser for our next album. 'Belfast Boozelleers' will be on “The Belfast Sessions” CD coming later this year.

Caravelli, real name Claude Vasori (12 September 1930, Paris, † 1 April 2019, Le Cannet) was a French orchestra leader, composer and arranger of orchestral music. The son of an Italian father and a French mother, Vasori was initially instructed in music by his mother in piano and voicing/harmony at seven years old, and later, when he was thirteen he began to attend the Paris Conservatoire. Caravelli is named "Caravelli And His Magnificent Strings" for the UK, US, South American and Japanese markets (from 1966), not to be confused with Caravelli Et Ses Violons Magiques for the French market (from 1960 to 1966).

Black Light is the sixth studio album by English electronic duo Groove Armada. It combines the more mainstream-oriented sound of its predecessor, Soundboy Rock, with the rock spirit of Lovebox, and the band makes use of 1980s synthesizers for the first time. The album is influenced by David Bowie, Fleetwood Mac, Gary Numan, New Order and Roxy Music. The vocal collaborations on the album include Bryan Ferry, Fenech-Soler, Jess Larrabee, Nick Littlemore, Saint Saviour and Will Young. 15th anniversary re-press after being unavailable for some time!

Eight songs played solo piano, alternative versions of some of the songs from Dardust's latest album of the same name, released in November, a work that challenges the conventions of neoclassical/contemporary music, breaking down the boundaries between the arts and uniting music and architecture. Urban Impressionism is the matching folio of the eponymous new recording project by Italian composer, producer and pianist Dardust. He once again challenges the conventions of neoclassical/contemporary music and does so, as is his wont, by breaking down the boundaries between the arts, uniting music and architecture, harmonising contrasts but starting from new sources of inspiration. On the one hand, the architectural geometries of urban suburbs, from brutalism to post-modernism, which in music are translated into genuine expressions, forged without recourse to embellishments or production artifices; on the other, the rapid brushstrokes of pictorial impressionism, reflected in his approach to composition. Dardust explores new urban scenarios through journeys and sound recordings in the suburbs of different cities and does so by modelling himself on the Impressionists' ability to paint scenes of modern life in the open air, depicting reality subjectively and emphasising personal and immediate perception rather than precision detail.

Overshadowed by his father, Johann Sebastian, and his brothers Carl Philipp Emanuel and Johann Christian, the music of Wilhelm Friedemann Bach provides a bridge between the high art of the first and expressive tendencies of Sturm und Drang. His Harpsichord Concertos, as performed here by Maude Gratton [of the Ricercar Consort] and Il Convito, offer a very successful synthesis of these two trends.

Arto Tunçboyacıyan is a Grammy winning American musician of Armenian descent. An avant-garde folk artist (singer, multi-instrumentalist), he appeared on more than 200 records in Europe before arriving in the United States, where he went to work with numerous jazz legends including Chet Baker, Marc Johnson, Al Di Meola, and Joe Zawinul as well as a semi-regular stint with Paul Winter and the Earth Band. Arto fronts his own group called the Armenian Navy Band. Tunçboyacıyan's 2001 album Aile Muhabbeti was used as soundtrack in two films: Hemşo (2001) and Mon père est ingénieur (2004).

It's been a long time since Marilyn Manson truly seemed like a transgressive force, but when you spend a lifetime crafting a persona as a rock & roll boogeyman, it's not only hard to shake that image, it's unlikely that you'd want to shake it. Manson has never shown any indication that he's wanted to change, which somehow came as a surprise to his betrothed, burlesque diva Dita Von Teese, who according to published reports in the wake of their divorce seemed shocked, shocked that Manson wanted to stay up late and take drugs, the kind of eternally adolescent behavior that only rock & roll stars can get away with as they approach 40. Better for Marilyn to sever that marriage and turn toward a true teenager: Evan Rachel Wood, the blandly pretty star of Thirteen who provided MM with a brand-new muse for Eat Me, Drink Me, his sixth studio album…