Born Paul Mazzolini on February 18, 1960 in Beirut, Lebanon, to a family of an Italian diplomat and an American singer, Gazebo spent his early years globetrotting around the world with his parents. As a teenager, he played in a rock band; later he studied the classical guitar in Paris for two years and spent some time in London, where he was briefly interested in the punk scene. Upon his return to Italy in the early '80s, he recorded his first song, "Masterpiece", co-written with his friend Pier Luigi Giombini (who would become his regular songwriting partner). Issued as a single, it became a big success in Italy in 1982 and only missed the number one spot in the charts by a whisker. A year later, Gazebo released his self-titled debut album, containing the hit song "I Like Chopin": a number one in Italy and 15 other countries that sold eight million copies around the world and contributed to the popularity of the nascent Italo-dance style.

One gets the feeling that, as 1966 drew to a close amid an incredible acceleration of innovations in the pop and rock world, the Hollies felt the need to prove themselves capable of artistic growth despite having established a very winning formula. For Certain Because… was their first album entirely composed of original material, and it echoed pop's increased sophistication with fuller, more adventurous arrangements and more personal, folk-rock-influenced compositions. Such was the intense competition of the time that this record couldn't hope to take on Revolver, Aftermath, or Face to Face, but it nevertheless remains an admirable effort that may stand as the group's most accomplished album (greatest-hits packages excepted) of the '60s.

Culled from four albums, except for one previously unreleased track, Shuggie's Boogie: Shuggie Otis Plays the Blues is a tour de force made all the more remarkable because the prodigy who produced it was so young. In fact, Shuggie Otis recalls during a boyish spoken intro in "Shuggie's Boogie" how he used to wear dark glasses and paint on a mustache to look older than his 14 or 15 years when he played in bars in the band of his legendary father Johnny Otis. During the same intro he effortlessly throws off guitar impersonations of T-Bone Walker, B.B. King and Elmore James. This compilation has a few rousing, up-tempo numbers, but the highlights are the slow, soulful tunes. One unfortunate omission is the seven-minute "Oxford Gray" from his 1970 album Here Comes Shuggie Otis.

Time is the sixteenth studio album by British-American rock band Fleetwood Mac, released on 10 October 1995. This album features a unique line-up for the band, featuring the addition of country vocalist Bekka Bramlett (daughter of Delaney and Bonnie) and former Traffic guitarist Dave Mason. It was the second album released after the departure of Lindsey Buckingham in 1987 (although he makes an appearance as a backing vocalist on one track), and the only Fleetwood Mac album since 1974's Heroes Are Hard to Find to not feature any contribution from Stevie Nicks. Additionally, it is the final Fleetwood Mac studio album to feature Christine McVie as an official member.

…Sopranos Emma Kirkby and Elin Manahan Thomas are excellent throughout…Harvey is a solid, dignified presence elsewhere as well, while tenor Charles Daniels and countertenor Michael Chance are at their eloquent best… Both The Purcell Quartet and Fretwork relish the variegated sonorities afforded by Buxtehude’s score, as well as the word painting, while blending with the voices to effect a homogenous yet multi-timbred sound of great beauty.

This album features cello concertos by Witold LutosIawski and Henri Dutilleux performed by the multiple prize-winning German-Canadian cellist Johannes Moser and the Rundfunk-Sinfonieorchester Berlin, conducted by Thomas Sondergard. These works, premiered in 1970, are two of the biggest gems of the twentieth century, the golden age of the cello. While equally virtuosic and engaging, both pieces showcase different aspects of the musical landscape of the late twentieth century.

Despite establishing the bel canto tradition through a series of romantic, serious operas (Otello, William Tell) and elegant buffas (the timeless Barber Of Seville) Gioacchino Rossini retired at 37 to live life as a Parisian bon vivant. Fortunately, Rossini (1792-1868) came out of retirement to complete the Stabat Mater, a choral masterpiece every bit as impressive as his more famous works. An expression of the Mediterranean belief in life and faith, this setting of the Stabat Mater is written for full orchestra with four soloists and chorus.

Pavillon de Paris, Paris, France 6 July, 1978

Nat King Cole, a man too great to be forgotten, has been loved by many great artists. Four famous albums dedicated to him are thoroughly dissected. Two sets of the best songs that could be called selected from the artist's side. Nat King Cole, a man too great to be forgotten, has been loved by many great artists. Among the countless artists who have covered him, the spotlight is on four who have released tribute albums. Gregory Porter, George Benson, Marvin Gaye, Hibari Misora, and others. This is the ultimate best of the best, which could be called a selection of songs from the artist side.

The Cure Out of all the bands that emerged in the immediate aftermath of punk rock in the late '70s, few are as enduring and popular as the Cure. Led through numerous incarnations by guitarist/vocalist Robert Smith, the band initially became well-known for its slow, gloomy dirges and Smith's exaggeratedly gothic look, a public image that often hid the diversity of the Cure's music. At the outset, they played jagged, edgy pop songs before slowly evolving into a more textured outfit. They were one of the bands that built the foundation for goth rock, but by the time goth caught on in the mid-'80s, the Cure had moved toward a more polished and thoughtful (if still often depressing) sound.

Elton John One of the greatest stars of the rock & roll era, Elton John exploded like a supernova in the early 1970s and sustained a career that kept him at the top of the charts for the next five decades. He had a Billboard Top 40 hit single every year between 1970 and 1996, a sign that he knew how to both change with the times and mold the times to fit him. John's earliest records were part of the moody, introspective post-'60s singer/songwriter movement, but once he had a hit with "Your Song," the pianist revealed he could also craft Beatles-like pop and pound out rockers with equal aplomb. As "Rocket Man," "Crocodile Rock," "Daniel," "Goodbye Yellow Brick Road," and "Bennie and the Jets" – songs John wrote with his lifelong collaborator Bernie Taupin – climbed into the Top Ten on either side of the Atlantic, John was inescapable during the first half of the '70s. His versatility, combined with his effortless melodic skills, and flamboyant stage shows, became his calling cards, sustaining him through shifts in fame and fortune.

The Encore Series consists of Official “Bootleg” style recordings from Peter Gabriel shows, recorded directly from the soundboard (with added ambient microphones) by Ben Findlay (Real World staff engineer) and released as a professionally mastered and manufactured 2 CD set (no CD-R's). They come in a gatefold package with artwork designed for the Encore Series by Real World and are unique for each concert and city.

Bruce Springsteen - Lead vocal, electric and acoustic guitars, harmonica; Roy Bittan - Piano, keyboards, accordion; Clarence Clemons - Tenor and baritone saxophones, percussion, backing vocal; Danny Federici - Organ, keyboards, accordion; Nils Lofgren - Electric and acoustic guitars, backing vocal; Garry Tallent - Bass; Stevie Van Zandt - Electric and acoustic guitars, mandolin, backing vocal; Max Weinberg: Drums; Charlie Giordano - Organ, keyboards, accordion; Soozie Tyrell - Violin, acoustic guitar, percussion, backing vocal

Day of the Dead is an epic tribute to the music and artistry of the Grateful Dead, curated by Aaron and Bryce Dessner of The National. They have brought together some of their favourite musicians to reinterpret the songs and sounds of the Dead for a new generation. 59 tracks and over 5 hours of music makes the album a landmark to get lost in, to discover hidden treasures and to make your own playlists for whatever mood you’re in. Covers by The War On Drugs, Kurt Vile, Bill Callahan, Courtney Barnett, Anohni, Wilco, Mumford & Sons, Unknown Mortal Orchestra, The Flaming Lips, Stephen Malkmus, Cass McCombs, Tim Hecker, Lucinda Williams, Perfume Genius, Fucked Up, Bonnie "Prince" Billy, The Tallest Man On Earth and others.

Digitally remastered and expanded two CD edition. Described, variously, as "dusky and mysterious, cosmetic and up-for-it", "Industrial techno disco," and "like a Japanese express train", Curve's second album Cuckoo is more sophisticated, more seductive, less serrated, even squelchy in places than their debut, Doppelganger. A mature, fluent, and literary album, it hit the Top 30 on release in 1993. Cuckoo takes the listener from the established hallmarks and runs with them - over the horizon - to many new and rich areas of pop melodrama. Delicate and gorgeous moments sit easily with their simultaneously cool and incendiary sound. A more personal album, it is nonetheless metallic, unforgiving, loud, clear. As with Doppelganger the album was produced by the band with Flood and Steve Osborne, and it was mixed by Alan Moulder. It is home to the lead tracks from singles Blackerthreetracker EP and 'Superblaster' and is regarded by the band as their best piece of work. This expanded edition includes the album plus the remixes and two previously unreleased tracks, the original versions of 'Rising' and 'Half The Time', which have only previously been available in their remixed form. Compiled by Dean Garcia and Toni Halliday.