Emmylou Harris's groundbreaking album Wrecking Ball was produced by Daniel Lanois (U2, Bob Dylan, Neil Young, Willie Nelson), won the 1996 Grammy Award for Best Contemporary Folk Album and was highly praised by critics worldwide. The 2014 three-disc set features the remastered original album, a bonus CD of previously unreleased material, and a DVD of the documentary Building the Wrecking Ball, which includes interviews and studio footage of Harris and Lanois as well as special guests Kate and Anna McGarrigle, Neil Young, Steve Earle, Brian Blade, and others.

Deluxe Edition of Bullet for My Valentine's self-titled 2021 album features five new studio tracks. The metal vets crushing new music expands on their bold new chapter with what has been their heaviest, fiercest album so far.
This is the seventh effort from Welsh metallers. Produced by Carl Brown (Rise to Remain, While She Sleeps) the album sees the band move into harsher, more aggressive territory than that of its predecessor, 2018's Gravity, delivering a mix of crushing riffs, pummeling drums, and intense guttural, screamo vocals.

Cher’s „Forever,” a special collection of 21 remastered Cher songs curated by the legend herself, spans the course of her amazing seven-decade and „still going strong” music career!

Time Was, Wishbone Ash's two CD-live anthology, was assembled by the band and the labels Castle and Sanctuary. Consisting of two previously released live recordings, only half of this is even worth hearing. The first disc, Live: Time Line, sounds like a bunch of geezers on their last legs and features only guitarist Andy Powell and bassist Martin Turner from the original lineup. Poorly recorded, tiredly played and utterly boring, it sounds more like a corner bar Wishbone Ash tribute band than the real thing – which of course it's not. In fact, the only case that ever needs to be made for bands not reuniting is this one. Disc two, originally issued as King Will Come: Live, is prime Ash. Recorded in the U.S. and Canada from 1973 through '76, at the height of their powers, this date showcases a restless, hungry, fully adventurous unit with Powell, Turner, drummer Steve Upton, keyboardist Graham Maitland and guitarist Laurie Wisefield. While the recording itself isn't stellar it's far more than passable and will be a welcome addition to the catalog for punters who didn't get it the first time around. The title track, "Blowin; Free," "The Warrior," "Balled of the Beacon," "Doctor," and "Moonshine" are all here, as well as nine others. This set makes plain the reason they ordered the performances in reverse: if King Will Come: Live had been first, no one would have ever even played Live: Time Line. As it is, folks who encounter Live: Time Line first may feel so ripped off by its horror, they may never stumble upon the treasure that is King Will Come: Live.

Live in Paris - Le Bataclan - November, 29th 1996

George Michael was the biggest British pop star of the 1980s, spinning a series of infectiously catchy pop singles into global stardom that saw him sell over 100 million albums worldwide. Blessed with a fine voice and a knack for writing engaging melodies that worked well with dance-friendly rhythms, Michael became the rare teen sensation who matured into a respected star as an adult.Michael was born Georgios Kyriacos Panayiotou on June 25, 1963 in the North London suburb of East Finchley; his father was a Greek Cypriot restaurant owner who changed his name from Kyriacos Panayiotou to Jack Michael when he immigrated to England in the 1950s. Michael's family relocated to Bushey, Hertfordshire when he was in his early teens, and he struck up a friendship with one of his new schoolmates, Andrew Ridgeley.

It's ironic that the Cure, a band whose albums have always seemed like definitive artistic statements, were at their best as a singles band. On the group's singles, Robert Smith's ideas reached their full potential, since they captured not only the group's off-kilter pop sense, but also the haunting melancholy and wacky humor that interlaced Smith's songs. Galore rounds up the singles from the second part of the Cure's career, beginning with "Why Can't I Be You?" from 1987's Kiss Me, Kiss Me, Kiss Me and ending with "Gone!" from 1996's Wild Mood Swings. Between those two are 15 more songs, nearly every one of which is a gem. The Cure were never a repetitive singles band, and there's a dizzying array of styles here, from infectious jangle pop ("Friday I'm in Love," "Mint Car") and monolithic, chilly goth rock ("Fascination Street," "Pictures of You," "Just Like Heaven") to jaunty, clever dance-club pop (the remix of "Close to Me"), eerie crawls ("Lullaby")…

The Infamous Stringdusters Nashville-based acoustic group the Infamous Stringdusters balance a fluency in old-timey bluegrass and indie jamgrass sensibilities with an emphasis on strong instrumental work plus a sound that's both organic and groove friendly. The band earned a stellar reputation among bluegrass fans right out of the box, earning three International Bluegrass Music Association awards after the release of their 2007 debut album, Fork in the Road, and they began exploring a more ambitious musical approach with 2010's Things That Fly that won them favor with the acoustic jam band community.

This CD is a straight reissue of a Pablo LP. Norman Granz teamed together the very distinctive trumpeters Dizzy Gillespie, Freddie Hubbard and Clark Terry with pianist Oscar Peterson, guitarist Joe Pass, bassist Ray Brown and drummer Bobby Durham for a "Trumpet Summit." This particular release features (with one exception) unissued material from the session. There are four versions of a slow blues (only the fourth was released before), all of which have very different solos from the three trumpeters. In addition they interact on "Wrap Your Troubles in Dreams" and share the spotlight on a three-song ballad medley; Hubbard's "Here's That Rainy Day" is hard to beat.

Kenso's second album is a colourful and lustrous sequel to the uplifting jazz rock of the debut. If creativity didn't strike 'em while giving the records their titles, they really were bringing their all on the studio. On this album, there is a stronger sense of virtuosity and brilliance, as the implementation of more symphonic rock and jazz, with a strong emphasis on keyboards and wind instruments.
''Kenso II'' is another tremendous work filled with fascinating interplays and constant battles between the musicians, while here and there the mainly jazzy approach is supported by slight doses of Classical breaks and symphonic sections, driven by Makiuchi's deep keyboards and Yajima Shiro's high class flute-lines. The overall style recalls the best of Focus, Ain Soph or Finch, but noone can accuse Kenso for lacking identity…

The night of May 12, 2002, may go down as another important milestone on the timeline of legendary jazz trumpeter Miles Davis. Four musicians, each representing a different Miles Davis band from his ever-evolving career, came together at the club Makor in New York City to do what everybody said couldn't be done—effectively fuse together elements of the radically different styles that Miles embodied over his 45 years of professional performance.

The Mahavishnu Orchestra’s December 27, 1973, concert at Avery Fisher Hall in NYC is a renowned live performance featuring the original lineup (John McLaughlin, Billy Cobham, Jan Hammer, Jerry Goodman, Rick Laird). Broadcast by WNEW-FM, this high-energy show showcases material from Birds of Fire and The Lost Trident Sessions.

In continuation of our ongoing project at rescuing and restoring outstanding pieces from the scattered US 70s prog scene, we bring you the only album recorded by the Kentucky-based PRE (short for PROGRESSIVE ROCK EXPERIENCE) in 1973. And just as you thought you were experienced enough in the prog sonicsphere, here’s another gem to broaden your horizon and enrich your collection. Easily tagged as a one-off wonder, this album leaves little room for vague and pointless reductionisms. With PRE spinning firmly on your turntable (backed by 3 equally enticing bonus tracks), you embark on a journey of top-notch, ultra-tight symphonic bliss, regularly flirting with long psychedelic passages.

Although Wanda Jackson will always be best remembered for her fiery rockers of the 1950s, the truth is that Wanda started her career singing country music and, despite a brief flirtation with rockabilly, she made her living from country music for most of the 1950s, '60s, and '70s. This compilation draws tracks from her early mid-1950s recordings to her excellent country recordings of the early 1960s, focusing on Wanda's ballad style. These tracks are as great as they're sadly overlooked, in fact the case can be made that if Wanda had never recorded her rocking tracks, she would have been known as one of the greatest country female singers, afforded the same respect as Patsy Cline, Loretta Lynn, and Dolly Parton. This collection includes her biggest hit, Right Or Wrong, and many other great recordings in the ballad style. Once again, Bear Family offers you something unique you won't find anywhere else!

One of the premiere fusion groups, the Mahavishnu Orchestra were considered by most observers during their prime to be a rock band, but their sophisticated improvisations actually put their high-powered music between rock and jazz. Founder and leader John McLaughlin had recently played with Miles Davis and Tony Williams' Lifetime. The original lineup of the group was McLaughlin on electric guitar, violinist Jerry Goodman, keyboardist Jan Hammer, electric bassist Rick Laird, and drummer Billy Cobham. They recorded three intense albums for Columbia during 1971-1973 and then the personnel changed completely for the second version of the group. In 1974, the band consisted of violinist Jean-Luc Ponty, Gayle Moran on keyboards and vocals, electric bassist Ralphe Armstrong, and drummer Narada Michael Walden; by 1975 Stu Goldberg had replaced Moran and Ponty had left.