A three-disc, 30-year retrospective of live Guru Guru, as it was entering into its fourth decade as a going concern. Drummer and spiritual leader Mani Neumeier is teamed with the "classic" Guru Guru lineup of Roland Schaeffer, bassist Peter Kuhmstedt, and guitarist Luigi Archetti at the 1998 Finkenbach Festival, looking over the band's then-30-year career and celebrating it with the familiar fractured funk and disco, playfully pretentious psychedelic insanity, and absurdist live skit show. Disc one presents the band jamming live on a set of songs (mostly from all vintages) - "Ooga Booga Special," "Jet Lag," and "Moshi Moshi" are all included on the nine-cut set - along with bonus track "Rastafari in Bayuwari." Disc two, called "Supersession," has Neumeier inviting up Damo Suzuki and the late Michael Karoli (Can), Ingo Bischof (Kraan), and Ax Genrich, Butze Fischer, Hans Reffert (former Guru Guru), and Japanese guitarist Uchihashi Kazuhisa…

One of a series of remastered and sonically enhanced editions of the Vangelis albums recorded for the RCA and Arista labels. All of which come in deluxe digipack designs, with masters personally supervised by Vangelis in 2013.
The ground-breaking experimental work ‘Beaubourg’ was Vangelis’ fourth and final album for RCA Records. Released in 1978, the album was recorded at Nemo, his personal studio in London and was a defining experimental electronic album of the era.
This Esoteric Recordings release (undertaken with the full approval and supervision of Vangelis himself) features a booklet that restores the original album artwork.

Rickie Lee Jones "unplugged" – in fact, solo with an acoustic guitar or piano on all but a couple of tunes – Naked Songs is otherwise a retrospective concert album on which Jones cherry-picks songs from her five studio albums, including the hits "Chuck E.'s in Love" and "Young Blood," and others from her breakthrough debut record. The studio album arrangements always tried to support and augment Jones' idiosyncratic writing and playing style, which sounds less unusual when she is simply accompanying herself, and in many ways more effective. "Altar Boy," a previously unreleased song, strays into Leonard Cohen territory, mixing religion with eroticism.

Thanks in part to Robert Palmer's hand in the process of compiling Addictions, Vol. 1, this early best-of is a fine peek into the musical passions that made Palmer tick. The 13 songs that make up the collection are mostly first-rate, and at the very least they present to a newcomer the eclecticism and style that made Palmer so consistently interesting. Since its genesis was 1989, the highlighted albums are Palmer's Island releases from 1978 to 1988: Double Fun, Secrets, Clues, Maybe It's Live, Pride, Riptide, Heavy Nova, and the soundtrack to Sweet Lies. Appropriately, the thundering, menacing "Some Like It Hot" from the Power Station's debut is included, though it's somewhat of a mystery as to why the band's T. Rex cover, "Get It On (Bang a Gong)," doesn't make an appearance. Only that song and "I Didn't Mean to Turn You On" seem like obvious omissions. The latter would appear on the remix-heavy Addictions, Vol. 2, but the former wouldn't appear on a career sampler until 1997's The Very Best of Robert Palmer. Otherwise, the collection is nearly perfect.

Very rare and extremely limited 2019 EU 4CD Box Set collection of Pink Floyd containing the "Ummagumma" album high resolution remaster plus outtakes, rarities and live material… This Deluxe Edition contains a 12 page booklet with the complete tracklistings and detailed recording information. Limited and numbered edition of 300. Ummagumma is the fourth album by the English rock band Pink Floyd. It is a double album and was released on 7 November 1969 by Harvest Records. The first disc consists of live recordings from concerts at Mothers Club in Birmingham and the College of Commerce in Manchester that contained part of their normal set list of the time, while the second contains solo compositions by each member of the band recorded at Abbey Road Studios.

On November 14, 1997, the Bee Gees reunited for a concert at the MGM Grand in Las Vegas. This was the Gibb brothers' first show in ten years, and the concert sold out in a hurry. The burning question was whether or not the chemistry would still be there, and thankfully, it was. After being aired on HBO on Valentine's Day 1998, the Vegas performance found its way onto CD when One Night Only was released in the fall of 1998. The Bee Gees generally sound inspired during their performance, which ranges from gems from their late-'70s disco period (including "Stayin' Alive," "You Should Be Dancin'," "Nights on Broadway," and "Tragedy") to early hits like "New York Mining Disaster 1941," "How Can You Mend a Broken Heart," and "Massachusetts."

It's a recording that just a few years ago would have been mainstream: a "name" pianist (albeit one much less well known in the U.S. than elsehwere), who has been playing Mozart's piano concertos since childhood, joins forces with a name conductor with whom she has frequently collaborated, leading a modern-instrument orchestra of some 70 players, with the results released on a major international-conglomerate label. Now it's distinctly unusual. But lo, there's value in the old ways. Portuguese-Brazilian pianist Maria-João Pires is a lifelong Mozart specialist, but she still has new things to say in two of Mozart's most popular piano concertos. You can chalk it up to her Buddhist outlook if you like: her readings of the Piano Concerto No. 27 in B flat major, K. 595, and Piano Concerto No. 20 in D minor, K. 466, might be described as detached without being lifeless. Her approach is most startling in the Piano Concerto No. 20, where her no-drama shaping of the material runs sharply counter to type. Sample the piano's entrance in the first movement, where it offers a twisting, tense elaboration of the main theme that is far removed from its source material. Generally pianists use this to raise the tension level, but Pires lets the unusually shaped, chromatic line speak for itself with fine effect.

This Japanese collection features mostly early Cliff Richard hits, beginning with his first, "Move It," which was released in 1958, through his so-called comeback years in the late 1970s, including his only U.S. hit, 1976's "Devil Woman."

Lionel Richie's solo career began while he was still in the Commodores, as he wrote and sang (as a duet with Diana Ross) the theme to the Brooke Shields romance Endless Love, which became a bigger hit than any of the group's singles, thereby setting the stage for his departure and his 1982 self-titled solo debut. He wasn't working in unfamiliar territory, or with new musicians. The Commodores decided to work as their own band, so their producer, James Anthony Carmichael, was able to devote his energy to working on Richie's album. Using the pop-crossover ballad style of "Endless Love," "Three Times a Lady," and "Easy" as their template, the duo turned Lionel Richie into a sleek, state-of-the-art record that, at its best, provides some irresistible pop pleasures.