This is the recording studio version of the concert Patricia Kaas gave at Carnegie Hall in tribute to the 50th anniversary of Edith Piaf's passing. She is backed by the Royal Philharmonic Orchestra, a small studio band – accordion, bass, guitar, Theremin, keyboards – and even a chorus under the direction of Abel Korzeniowski, who also arranged the material and produced the album. The live performance, while a commercial success, had its share of critics, including Piaf purists, who were quick to note that Kaas doesn't possess the vocal range of her subject. Kaas fans found the size and power of the orchestra too daunting for her to overcome.

The non-LP single "Scene Through the Eye of a Lens" b/w "Gypsy Woman" not withstanding, Music in a Doll's House (1968) is the debut full-length release from the earliest incarnation of Family, featuring Roger Chapman (harmonica/tenor sax/vocals), Rick Grech (violin/ cello/bass guitar/vocals), Rob Townsend (percussion/drums), John "Charlie" Whitney (guitar/pedal steel guitar/keyboards), and Jim King (harmonica/keyboards/soprano sax/tenor sax/vocals). Their highly original sound has often been compared to Traffic, which may be in part due to the production skills of Jimmy Miller and Dave Mason, the latter also contributing the organic and rootsy rocker "Never Like This."

Whitney Dancin' Special also known as just Dancin' Special, is the first extended play/remix album by American R&B/pop singer Whitney Houston, it was released exclusively in Japan on November 1, 1986 by Arista Records. It was manufactured and distributed by Nippon Phonogram during its original release, and by BMG Victor during its re-issue. It includes 5 remixed and 1 instrumental versions of songs from her self-titled debut album. The album peaked at #14 in the Japanese charts.

The Who by Numbers functions as Pete Townshend's confessional singer/songwriter album, as he chronicles his problems with alcohol ("However Much I Booze"), women ("Dreaming From the Waist" and "They Are All in Love"), and life in general. However, his introspective musings are rendered ineffective by Roger Daltrey's bluster and the cloying, lightweight filler of "Squeeze Box." In addition, Townshend's songs tend to be underdeveloped, relying on verbosity instead of melodicism, with only the simple power of "Slip Kid," the grace of "Blue Red and Grey," and John Entwistle's heavy rocker "Success Story" making much of an impact.

Santana is the primary exponent of Latin-tinged rock, particularly due to its combination of Latin percussion (congas, timbales, etc.) with bandleader Carlos Santana's distinctive, high-pitched lead guitar playing. The group was the last major act to emerge from the psychedelic San Francisco music scene of the 1960s and it enjoyed massive success at the end of the decade and into the early '70s. The musical direction then changed to a more contemplative and jazzy style as the band's early personnel gradually departed, leaving the name in the hands of Carlos Santana, who guided the group to consistent commercial success over the next quarter-century…

‘Brutal Youth’ (1994) is the first album since ‘Blood And Chocolate’ (1986) Costello recorded with the Attractions with Nick Lowe featuring on half of the album. Elvis picked up an electric guitar and began writing rock n’ roll songs again. The result, ‘Brutal Youth’, an impressive collection of rock and pop that that proves that Costello hadn’t forgotten how to write a loud tune and to being one of the greatest lyricists in rock music. The album features some great rockers like “Pony St.”, “13 Steps Lead Down”, “Just About Glad” and “My Science Fiction Twin” are all loud and robust songs that sound like classic Elvis. The piano ballad “Favourite Hour” might just be the album’s highlight (or is it one of 15 highlights?) and a beautiful way to close the album.

A fantasy that turned into a symphony? First and foremost, this double album enshrines the exemplary work of an ensemble whose designation 'Baroque Orchestra' by no means limits it's excursions into later repertories: under the watchful eye of a gifted conductor, the 'Freiburgers' (and co.) offer us a profoundly renewed vision of the Ninth, that myth among myths, that touchstone of a genre in quest of the absolute - and the direct descendant of a much earlier 'Choral Fantasy'. The latter work showcased one of Beethoven's most extraordinary talents: improvisation. Kristian Bezuidenhout has joined forces again with his concerto partners to let us experience this little-known score as if it had just been premiered… then transcribed by Beethoven himself!

Diese CD zeichnet das Porträt eines hervorragenden Musikers: Drei Violin- konzerte, drei Orchesterkonzerte, eine Fantasie für Orchester und die Alternativfassung eines Mittelsatzes bieten Musik, die an Vielfalt keine Wünsche offenläßt.​Ideenreichtum, Charme und eine ausgefeilte Kompositions- technik ergänzen sich zu einem Stil, der den besten Leistungen der Epoche nicht nachsteht.

Born in Croydon in 1875, the son of a Sierra Leone-born doctor and English mother, Samuel Coleridge-Taylor’s childhood was a tough one. Yet, aged 15, he entered the Royal College of Music and studied composition with Sir Charles Villiers Stanford. The interest generated by the music of ‘this new black Mahler’ soon put him on the musical map, Hiawatha's Wedding Feast being described as ‘one of the most remarkable events in modern English musical history’. In 1904, at a time when it was still extremely hard for black Americans to fulfil their cultural aspirations, he accepted an invitation to America and found himself hailed as an iconic figure. Throughout his short life he found his role as composer complemented by one as political activist fighting against racial prejudice.

The Mussorgsky Pictures is the most unusual and most interesting reading of the set. Starting with a carefully molded legato opening trumpet tune, Celibidache puts forth an amply lyrical interpretation, one awash in warm, glowing orchestral colors that, unlike in his Scheherazade, do not get lost in the wash. Every number receives special attention to its particular nuance, Bydlo being just one example, while the finale’s grand solemnity (and massive slowness) makes for a truly moving conclusion.