After New Order released their own Substance compilation in 1987, it was perhaps inevitable that a similar and long-overdue collection would apply to Joy Division, especially given the out-of-print status of many of the band's singles. The end result turned up in 1988, and as a listen easily demonstrated that the same sheer sweep and energy that applied to the band over a full-length album similarly worked, even more so, with the focus of a 7" or 12" release. Though the earliest tracks like "Warsaw" and "Leaders of Men" were a strange sort of art punk, there was already something distinct about the group, and by the time of "Digital" and "Autosuggestion," it was perfectly apparent.

American folk icon Melanie teamed up with Dutch guitar legend and founder of art rock troupe Focus Jan Akkerman for this one-of-a-kind concert performance in 1988! This previously unreleased performance was professionally recorded at a music festival in the Netherlands and features some unique and astounding versions of classics from Melanie's vast catalog of songs! Includes in-depth liner notes from Melanie manager Dave Thompson based on exclusive interviews conducted with her just last year!

Greatest Hits is a fine overview of Fleetwood Mac's hitmaking years, containing the bulk of the group's Top 40 hits of the late '70s and '80s, including "Over My Head," "Rhiannon," "Say You Love Me," "Go Your Own Way," "Dreams," "Don't Stop," "Tusk," "Sara," "Hold Me," "Gypsy," and "Little Lies." Minor hits like "Think About Me," "Love in Store," and "Seven Wonders" are missing, making room for the new songs "As Long as You Follow" (which actually became a hit) and "No Questions Asked," but overall, Greatest Hits is an excellent choice for casual listeners. WEA released a version of Greatest Hits in 2006 that included the bonus track "Oh Diane".

This well recorded disc from 1987 delivers truly exciting performances of all three works in typically crisp manner by Zimerman. Ozawa and the Boston orchestra give excellent support. The emphasis here is on excitement largely created by fast speeds delivered with clarity. The more gentler parts of all three works are played with due regard to sensitivity but there is no denying that in these recordings these works are seen as primarily as virtuoso display works and that is what we are given.

Although they only attained the huge success of the Beatles, Rolling Stones, and the Beach Boys for a short time in the mid-'60s, time has judged the Byrds to be nearly as influential as those groups in the long run. They were not solely responsible for devising folk-rock, but they were certainly more responsible than any other single act (Dylan included) for melding the innovations and energy of the British Invasion with the best lyrical and musical elements of contemporary folk music. The jangling, 12-string guitar sound of leader Roger McGuinn's Rickenbacker was permanently absorbed into the vocabulary of rock. They also played a vital role in pioneering psychedelic rock and country-rock, the unifying element being their angelic harmonies and restless eclecticism…

This 77-minute CD is close to an ideal compilation, reaching back to before the band's beginnings for the original 1965 recording of "I-Feel-Like-I'm-Fixin'-to-Die Rag" and across seven of the better cuts off of Electric Music for the Mind and Body, up through the Woodstock Festival and the band's farewell concert that same year at the Fillmore West. It reels in most of the notable album cuts in between, all in surprisingly good sound (not usually a strong point on Vanguard CDs of the late '80s). The 19 songs, which don't follow a strict chronological order, encompass some of the band's most celebrated experimental material, as well as more traditionally structured songs such as the fiery double-lead guitar workout "Death Sound Blues," the catchy, folk-rock-style "Sing Sing Sing," and the counterculture singalong "Marijuana" and works of serious personal significance (and intimately focused genius), including "Grace" and "Janis." The disc offers a good balance between the various sides of the group's sound and includes several notable live tracks, including the November 1968 Fillmore East performance of "Superbird," an anti-Lyndon Johnson song that dated back to 1965 and which is adapted here to include an attack on president-elect Richard Nixon. The sound is amazingly good and consistent throughout, and the track order, as well as the music itself, is downright spellbinding at times; the annotation is minimal, but this CD really has only a single flaw – apparently, between the 1965 original version of "I-Feel-Like-I'm-Fixin'-to-Die Rag" and the 1969 Woodstock performance, there was no room for the standard studio version off of the band's second LP.

With 1971's Fragile having left Yes poised quivering on the brink of what friend and foe acknowledged was the peak of the band's achievement, Close to the Edge was never going to be an easy album to make. Drummer Bill Bruford was already shifting restlessly against Jon Anderson's increasingly mystic/mystifying lyricism, while contemporary reports of the recording sessions depicted bandmate Rick Wakeman, too, as little more than an observer to the vast tapestry that Anderson, Steve Howe, and Chris Squire were creating. For it was vast.

Eternal Nightmare is the debut album by the San Francisco Bay Area thrash metal band Vio-lence. It was released on June 27, 1988 through MCA Records' Mechanic sublabel. A limited 10" promo single was released, with two tracks "Eternal Nightmare" and "Phobophobia"; the release was quite unique, as it came in a "vomit pack", a sealed plastic cover containing fake vomit. Shortly after, thrash metal innovators Slayer released a single in a similar format but with fake blood, and rock band The Revolting Cocks released a single with fake semen.

Mr Demachy's 'Pieces de violle' of 1685 are for viole solo, scored without basso continuo. Demachy represents the previous generation to Marais and Forqueray le pere, whose works included a separate bass voice in addition to the viole.

The Speed of Sound is a 1988 all-instrumental album by American rock guitarist Ronnie Montrose, who led the bands Montrose (1973-77 & 1987) and Gamma (1979-83 & 2000) and also performed and did session work with a variety of musicians, including Van Morrison (1971–72), Herbie Hancock (1971), Beaver & Krause (1971), Boz Scaggs (1971), Edgar Winter (1972 & 1996), Gary Wright (1975), The Beau Brummels (1975), Dan Hartman (1976), Tony Williams (1978), The Neville Brothers (1987), Marc Bonilla (1991 & 1993), Sammy Hagar (1997), and Johnny Winter. In 1997, Ronnie stated that this album was his favorite instrumental record he had done so far. The track titles are words and phrases referencing aviation themes.

We first heard Sawallisch in Prague conducting the Czech Philharmonic Orchestra during the Prague Spring festival of 1958 and since then he has been a guest at this festival seven times more. In between, however, he has also been a guest conductor of the Czech Philharmonic and we even heard himas a pianist with Josef Suk as his sonata partner. Sawallisch, as one of the leading opera conductors today and a great admirer of Czech music, literally fell in love with the Czech Philharmonic Chorus which he conducted in big oratorios and cantatas (he even invited it in 1964 to the Milan La Scala for several performances of Wagner's Lohengrin). He very gladly visits us tocollaborate both with the Czech Philharmonic Orchestra and its chorus.

Deliver (also known as The Mamas & the Papas Deliver) is the third studio album by the Mamas & the Papas, released in February 1967 on Dunhill Records. One song, "Creeque Alley", outlines the unique circumstances in which the band met and formed. Other songs on the album are covers of popular hits from years past. The album debuted on Billboard's Top LPs chart on March 18, 1967 and reached its peak position of No. 2 just three weeks later. It spent a total of 55 weeks on the Top LPs chart. The album was first issued on CD in 1988 (MCAD-31044) and is included in its entirety on All the Leaves Are Brown, a retrospective compilation of the band's first four albums and various singles.

After years of trying to separate himself from his legendary status as Led Zeppelin's frontman, Robert Plant finally reconciles with his past on Now & Zen. He borrows a few Zeppelin riffs, and even enlists Jimmy Page to play guitar on his hit "Tall Cool One." This album is also notable in that it marks his first collaboration with keyboardist Phil Johnstone, who would continue to play and write with Plant on subsequent albums. Musically, the album relies on standard rock arrangements except that the vocals and drums are at the forefront and keyboards instead of guitars are used to fill out the sound.

This deluxe reissue not only reintroduces the original EP in all its glory but also treats fans to a selection of bonus tracks, including vintage live performances and other rarities that showcase UFO’s dynamic live energy and musical evolution. The artwork has been revamped with an even sexier front cover image.
Recorded in the wake of the band’s electrifying 1987 tour in support of their ’85 album Misdemeanor, this EP marked the final collaboration between UFO frontman Phil Mogg and the virtuosic Japanese-born guitarist Atomik Tommy M. Much like its predecessor, Ain’t Misbehavin’ goes full throttle from beginning to end with Mogg matching his vocal prowess to the pyrotechnic playing of guitarist Tommy alongside superstar bassist Paul Gray (The Damned) and former Magnum drummer Jim Simpson. The brilliant lead off track, “Between A Rock And A Hard Place,” ranks up there with some of the band’s best rockers.

Esoteric Recordings are proud to announce the repromotion of a remastered and sonically enhanced edition of Direct. It comes as a deluxe digi-pack design, with the master personally supervised by Vangelis.
Direct was released by Arista Records in October 1988 and was the first Vangelis to be recorded in Athens, following his relocation to the city from London. A fine body of work, the album title was inspired by Vangelis’ method of composing and recording, relying on spontaneity, with the compositional and recording process occurring simultaneously in the studio with few (if any) overdubs taking place.
This Esoteric Recordings release (undertaken with the full approval and supervision of Vangelis himself) features a booklet that restores the original album artwork.