Regarded by none other than the record collector magazine, as being the finest collection of "Hendrix" sessions ever released, this limited edition ten cd box set contains over 100 tracks over ten hours of music & contains some of finest sessions/outakes "Jimi Hendrix" ever made. This box set is limited to a 1000 copies, each one is individually numbered, it also contains a 20 page detailed booklet.

Completists will be happy to own many of the rarities on this four-disc set, including Stevens's first demo session, an unreleased 1970 duet with Elton John, a cover of Fats Domino's "Blue Monday," and several choice live cuts from the late '70s. And it's nice to have an overview of the artist's entire career–from late '60s pop-star wannabe to '70s folk-rock superstar–in one place. But the difference between early Cat Stevens (despite composing hits for others) and post-Tea for the Tillerman Stevens is substantial. The two follow-up LPs were part of a trilogy of brilliance–both musically and lyrically–and any Stevens collection must start there. Nevertheless, surprises and some gems are to be found throughout all four discs–even his most recent recording (as Yusuf Islam) isn't bad. This box set also offers a choice opportunity to reassess a deserving career. (All royalties go to New York City relief victims and orphans and homeless families in underdeveloped countries.)

The works of Schubert are central to Elisabeth Leonskaja's repertoire - and her interpretations of his work have been described as "essential". Born in the Soviet Union, where her greatest mentor was Sviatoslav Richter, she moved in 1978 to Vienna. She has said that: "In Schubert, there are things that any average Viennese person will understand better than I do … I, though, have to think about them carefully. In Schubert, profound matters are expressed with a lightness of touch."

Duke Jordan Trio and Quintet is an album by American pianist Duke Jordan recorded in 1955 and first released on released on Don Schlitten's Signal label before being acquired by the Savoy label.

I Am Not a Doctor is the second album by the English/Irish electronic dance music duo Moloko, released in 1998. The album received critical praise, although it was not a big seller. I Am Not a Doctor was issued in the UK by Echo Records. The songs on the album built upon the electronic pop of Moloko's first album, Do You Like My Tight Sweater?, with further experimentation in drum and bass and synthpop. Included on I Am Not a Doctor is "Sing It Back", a track which entered the UK Singles Chart twice, becoming a top ten single in 1999 after being remixed by Boris Dlugosch and experiencing massive success in nightclubs.

This LP for Prestige helped establish alto sax giant McLean on the jazz scene. He was joined by trumpeter Donald Byrd (who shines with the altoist on Charlie Parker’s “Confirmation”) and tenor saxophonist Hank Mobley (also bopping hard on the tune), in a date solidified by McLean’s rhythm section: Mal Waldron on piano, Doug Watkins on bass and Arthur Taylor on drums. McLean also plays ballads, including Waldron’s sublime tune “Abstraction.” Writing in the original notes, Ira Gitler said, ”Jackie McLean is musically coming of age. His playing, out of Charlie Parker and Sonny Rollins, has become a personalized, more individual voice in 1956 and he has not lost any of the basic emotion, swinging qualities that help his style live up to the second syllable of his last name so well.” Hybrid Mono SACD for sale individually and as part of Analogue Productions’ Prestige Mono Series. Mini "old style" gatefold jacket packaging.

The Welsh psychedelic pop/rock legends Super Furry Animals return with 'Dark Days/Light Years', their ninth studio album. Where previous albums have seen the band experiment with extra instrumentation, this release is full of songs based on grooves rather than ensemble composition. The band's impish sense of humour remains, though, with track titles such as 'The Very Best Of Neil Diamond' and 'Moped Eyes' standing out. Also notable is Franz Ferdinand guitarist Nick McCarthy's guest appearance on the Kraftwerk-inspired 'Inaugural Trams', performing a German-language rap. In keeping with more recent albums, the band also share lead vocal duties between several members.

Lawyers in Love is the seventh album by American singer/songwriter Jackson Browne, released in 1983. It reached number 8 on the Billboard Pop album chart and number 30 on the Billboard 200.

A concept album exploring themes of broadcast communications, Radio-Activity marked Kraftwerk's return to more obtuse territory, extensively utilizing static, oscillators, and even Cage-like moments of silence to approximate the sense of radio transmission; a pivotal record in the group's continuing development, the title track – the first they ever recorded in English – is their most fully realized electro-pop effort to date, while "The Voice of Energy" precipitates the robot voice so crucial to their subsequent work.

Resonus is pleased to present this significant new recording of vocal works by the early-twentieth century Czech composer, Pavel Haas. Featuring four song cycles composed by Haas at various stages in his life, this captivating album includes the world premiere recording of Fata Morgana, Op. 6 – Haas’s first major work composed following studies with Leoš Janáček in 1922. Pianist Lada Valešová is joined by an exceptional array of singers as well as the acclaimed Navarra Quartet in a vivid portrait of this neglected composer.

Crucial to the creation of this album was Daltrey's meeting with guitarist/songwriter Gerard McMahon, since Rocks In The Head, which credits "Musical Direction and Production" to McMahon, also features him as primary backup musician and writer or co-writer of ten out of the 11 tracks. Daltrey himself is co-credited on seven, a new high for him, but it's hard not to feel that he is acting primarily as McMahon's mouthpiece. McMahon updates Daltrey for the '90s, constructing hard-edged tracks based on harsh electric or acoustic guitar textures, suggesting everyone from The Who to The Police. The result is an album that does nothing to diminish Daltrey's reputation.

For his first recording on the Alpha label, Sergey Kasprov, a young Russian artist trained at the Moscow Conservatory, defies the laws of time. He has in fact chosen to create a dialogue between great Baroque geniuses and Russian Romantics: Rameau, Lully, Loeillet, Bach and Scarlatti revised by Tausig, Godowsky and Rachmaninov.In the tradition of Marcelle Meyer, Glenn Gould or, more recently, Alexandre Tharaud, Sergey Kasprov pulls off the tour de force of freeing himself from Baroque interpretative codes and, at the same time, from those of the 19th century, to better get back to the essential.The excellent recording quality attests ideally to the discourse, respectful of the original counterpoint as well as unfailing digital dexterity necessitated by appropriate ornamentation and the amazing sound palette required by late Romanticism, all on a Steinway contemporary with Rachmaninov.

Study in Brown features the 1955 version of the Clifford Brown/Max Roach Quintet, a group also including tenor saxophonist Harold Land, pianist Richie Powell, and bassist George Morrow. One of the premiere early hard bop units, this band had unlimited potential. Highlights of this set are "Cherokee" (during which trumpeter Brown is brilliant), "Swingin'," and "Sandu." All of this group's recordings are well worth acquiring.

Although Kraftwerk's first three albums were groundbreaking in their own right, Autobahn is where the group's hypnotic electronic pulse genuinely came into its own. The main difference between Autobahn and its predecessors is how it develops an insistent, propulsive pulse that makes the repeated rhythms and riffs of the shimmering electronic keyboards and trance-like guitars all the more hypnotizing. The 22-minute title track, in a severely edited form, became an international hit single and remains the peak of the band's achievements – it encapsulates the band and why they are important within one track – but the rest of the album provides soundscapes equally as intriguing. Within Autobahn, the roots of electro-funk, ambient, and synth pop are all evident – it's a pioneering album, even if its electronic trances might not capture the attention of all listeners.

On his third album, Jackson Browne returned to the themes of his debut record (love, loss, identity, apocalypse) and, amazingly, delved even deeper into them. "For a Dancer," a meditation on death like the first album's "Song for Adam," is a more eloquent eulogy; "Farther On" extends the "moving on" point of "Looking Into You"; "Before the Deluge" is a glimpse beyond the apocalypse evoked on "My Opening Farewell" and the second album's "For Everyman." If Browne had seemed to question everything in his first records, here he even questioned himself. "For me some words come easy, but I know that they don't mean that much," he sang on the opening track, "Late for the Sky," and added in "Farther On," "I'm not sure what I'm trying to say." Yet his seeming uncertainty and self-doubt reflected the size and complexity of the problems he was addressing in these songs, and few had ever explored such territory, much less mapped it so well. "The Late Show," the album's thematic center, doubted but ultimately affirmed the nature of relationships, while by the end, "After the Deluge," if "only a few survived," the human race continued nonetheless. It was a lot to put into a pop music album, but Browne stretched the limits of what could be found in what he called "the beauty in songs," just as Bob Dylan had a decade before.