This disc is a sequel to the Hommage à Bach release by German pianist Andreas Staier, likewise devoted to the music of Schumann. Here Staier devotes himself to Schumann's late music (from his last year or so among the sane), playing the Gesänge der Frühe, Op. 133, himself, and taking on violinist Daniel Sepec for the two violin sonatas and Schumann's arrangement of Bach's Chaconne (here "Ciaconna") from the Partita for unaccompanied violin in D minor, BWV 1004. Both players use historical instruments, Staier's 1837 Erard is the same piano that's heard on the earlier release, and it's safe to say that those who enjoyed Hommage à Bach will also find much to admire here, even though the two performances are quite different in overall effect.

This is a very compelling performance of Tchaikovsky's Op.44. Perhaps too expansive for my taste, but skilfully well played and always convincent. Postnikova and Rozhdestvensky make a good match in this music and as a great advantage, they chose the composer's original version. While she is known to many for her recordings of the complete piano output of Tchaikovsky and all five piano concertos of Prokofiev, Viktoria Postnikova has played a broad range of solo, chamber, and concerto repertory, from J.S. Bach and Haydn to Chopin, Rachmaninov, and Shostakovich. In addition, Postnikova has played less traditional fare by Busoni, Ives, and Janácek, and contemporary works by Schnittke and Boris Tishchenko.

The Who One of the major bands of the rock & roll era, the Who straddle the gap separating art-pop and hard-rock, creating kinetic, exploratory music that helped expand the genre's lexicon. Arriving during the second wave of the British Invasion, the Who came out of the R&B-besotted Mod scene and married that groove to the crunching power chords pioneered by the Kinks. After their debut single "I Can't Explain" cracked the U.K. Top Ten in 1965, the band quickly gained a reputation for their volcanic live performances, which could escalate into Pete Townshend violently shattering his guitar while Keith Moon destroyed his drum kit with glee.

I’m an avid fan of the TV comedy series Benidorm (like every night), about the adventures of a motley crew of ‘Brits’ on their annual holiday in Europe’s biggest resort town at the 3-Star Solana Hotel and which is on a permanent loop on a retro TV station here.

Intrada announces a 40th-anniversary edition of Brad Fiedel's popular score to Fright Night (1985). The score from Columbia Pictures' darkly humorous horror film proved challenging to release the first time around: first-generation masters were incomplete and the full score was taken from second-generation masters. In the intervening years, the first generation masters were discovered, allowing album producer Edwin Wendler to produce an all-new master of the complete score in film order in brilliant sound. It's the definitive presentation of Brad Fiedel's music Intrada had always wished to issue, including an additional 17 minutes of previously unreleased score. The album was mastered by Doug Schwartz with updated cover design by Stéphane Coëdel and updated notes by Daniel Schweiger. Fiedel crafted a score that was both state-of-the-art and old school—imbuing the hip villain with the stuff of supernatural legend. While Fiedel followed the story from a humorous beginning to an unexpectedly shocking climax, Fright Night’s experimental jolts were also firmly bound by the same melodic laws of a classic Hammer film–-filled with themes and motifs that paint The Vampire as an eternal creature of seduction. A highlight of the score is the main theme that introduces vampire Jerry Dandridge with a swaying, hypnotic rhythm, enticing Charlie to peep on his neighbor and the beautiful call girl he’s undressing. It’s a sensual build worthy of a rock god and his conquest.

As the producer of such legends as Hank Snow, Porter Wagoner, Dolly Parton, Dottie West, Waylon Jennings, Jerry Reed……not to mention Elvis, The Everly Brothers, Eddy Arnold and Jim Reeves, you may be forgiven for overlooking the fact that our featured artist, internationally known as Mr. Guitar, A.K.A. Chet Atkins was indeed a superbly influential and innovative guitarist in his own right. We feature 5 of his late 1950s to early 1960s albums plus bonus tracks which will give you a flavour of the range of Chet’s musicianship and a man who won the Country Instrumentalist of the Year award no fewer than 9 times between 1967-1988.

Ian Gillan was one of the foremost vocalists of the heavy metal style of rock that emerged in the 1970s, earning his greatest renown as a member of Deep Purple, though he also led bands named after himself. He began singing in bands while still in his teens, the most notable of which were the Javelins (1962-1964) and Episode Six (1965-1969).

Atlantic has thus far been very slow to reissue its six valuable Gary Burton records. This particular set is the most accessible of the group, for it matches the advanced vibraphonist with the classic violinist Stephane Grappelli in a quartet also including electric bassist Steve Swallow and drummer Bill Goodwin. The music alternates between standards and originals (including Swallow's famous "Eiderdown"), and both Grappelli and Burton prove to be flexible enough to have much common ground despite a 35-year difference in age. A frequently delightful set.

While such albums as 1980's Permanent Waves and 1981 Moving Pictures are usually considered Rush's masterpieces (and with good reason), 1978's Hemispheres is easily as deserving and acts as a hinge piece between the band's early hard rock material and more progressive later offerings. The album consists of four compositions (half are lengthy). The 18-minute-long "Cygnus X-1, Book II Hemispheres" is arguably the band's finest extended track, and a sequel to "Cygnus X-1" from the previous year's A Farewell to Kings. While the track's labyrinthine storyline isn't as comprehensible as "2112" was, it's much more consistent musically, twisting and turning through five different sections that contrast heavy rock sections against more sedate pieces…

The two albums I.F. and I.F. 2 (short for Intergalactic Federation) Deep Space Network made with fellow German artist Dr Atmo for Fax Records feature longer tracks, offering a bigger canvas for Moufang and Grossmann to work on. These are true collaborations with Atmo - a lover of shadowy, cosmic Eastern melodies and percussion - where the whole ends up greater than the sum of the parts.

This package chronicles 30 years of Moddy Blues recordings. Track includes "Nights in White Satin," "Question," "The Voice," "I'm Just a Singer (In a Rock And Roll Band).

Joan Osborne set the world on fire for a few minutes back in the '90s with her reading of Eric Bazilian's "One of Us," a single that dominated the charts for the better part of a year and continues to get radio play. The album, Relish, sold into the millions, making everybody and her brother (especially the folks at her label Interscope) think she was going to be a superstar. It didn't work out that way. Despite being one of the greatest R&B and soul singers around (before she played in the big leagues she issued a few independent recordings on her own Womanly Hips label that offer stellar proof of this), she got her rep as a pop singer; worse yet, as part of the '90s wave of female acts who dominated the charts for a little while and was a part of the first Lilith Fair, while singing pop songs at half power no less. She recorded one more album for Interscope (which is owned by Universal).

Charming & romantic. There's no better way to describe Gato Barbieri's late-'70s recordings for A&M, a chapter in the Argentinian saxophonist's varied career that carried him from Lalo Schifrin's orchestra to stepping out on his own playing everything from traditional South American forms to avant-garde jazz to Latin/jazz/pop fusion & back again. Hip-O Records & The Verve Group are proud to feature Gato Barbieri in the 20th Century Masters/The Millennium Collection series, gathering 10 evergreens from one of Gato's most beloved periods. Featured are the full album versions of "Europa (Earth's Cry Heaven's Smile)," "Behind The Rain," "Sunride" & "I Am Singing."

Shiraz, the Act debut by Dhafer Youssef, is the most personal album in the career of the world- renowned oud player and singer. In vibrant songs, it tells the story of the most important encounter of his life: meeting his wife, Shiraz Fradi.

Most jazz records are made in studios with perfect acoustics. Ours was made in a French château surrounded by vineyards. And the acoustics were perfect too. The atmosphere was as rich and complex as the region’s finest vintages - a setting unlike any other for a jazz session.