The Best of Branigan was released in 1995 and was the first greatest hits collection of singer Laura Branigan that was issued in the United States. This album also marked the end of Branigan's relationship with her record label, Atlantic Records. Only eight of the thirteen tracks on this anthology had charted, although it did include several of her major hit singles, such as "Gloria", "Solitaire", "Self Control", "Power of Love", and "How Am I Supposed to Live Without You". The album included two new tracks, "Show Me Heaven" and a cover of Donna Summer's "Dim All the Lights", the latter which was released as a single in late spring 1995 and became a Billboard Top 40 Dance hit.

This double album matches and mixes together four masterful musicians: pianist Oscar Peterson, guitarist Joe Pass, bassist Niels Pedersen and harmonica great Toots Thielemans. Together they perform O.P.'s "City Lights" and ten veteran standards with creativity, wit and solid swing. There are a few miraculous moments as one would expect from musicians of this caliber and the results are generally quite memorable.

A 2 CD Box Set of some of Jarre's favorite pieces, hand selected by the Artist. Essentials includes songs from 1976 - 2000 representing a personal and musical journey honoring his relationship with Francis Dreyfus. The owner of Dreyfus Music. Rarities contains pieces created long before Oxygene, one of Jarre's best selling albums. Early examples of the way he manipulated sounds electronically and bridged the gap between electronic, classical and pop.

Voyeur is the seventh studio album by American singer-songwriter Kim Carnes, released in September 1982 through EMI Records. Carnes began writing material for Voyeur while touring her previous album Mistaken Identity (1981). Voyeur is a synthpop album which Carnes described as "more consistent" than its predecessor. It received mixed reviews, with some critics in favour of the album while others remarked that it failed to live up to the standard of Mistaken Identity.

Gramophone-Award-winning harpsichordist Mahan Esfahani has recorded Rameau's Pièces de clavecin in the historic setting of the Music Room at Hatchlands Park in Surrey. This is a masterclass for the instrument, confirming this young artist as a truly great player: in the words of International Record Review his technique is beyond criticism and his inherent musicianship goes far deeper than mere surface understanding it is difficult not to warm to such a musician'. This double album comprises the whole of Rameau's output of keyboard suites, and Esfahani rejoices in its wealth of genius, its excitement and drama. Rameau is a composer whose revival is ongoing, and his unique combination of the witty and the cerebral, the light and the curmudgeonly, abounds throughout his harpsichord music.

For Everyman is the second album by American singer-songwriter Jackson Browne, released in 1973. The album peaked at number 43 on the Billboard 200 chart and the single "Redneck Friend" reached number 85 on the Billboard Hot 100 chart. Guest artists included David Crosby, Glenn Frey, Elton John (credited as Rockaday Johnnie), Don Henley, Joni Mitchell and Bonnie Raitt. In 2003, the album was ranked number 457 on Rolling Stone magazine's list of the 500 greatest albums of all time.

The late 1950s were tough on Judy Garland, but this live recording, cut on April 23, 1961, at Carnegie Hall, would (rightfully) bring the legendary icon back into the spotlight. Live would go on to win five Grammys, be Garland's bestselling record, and confirm that, yes, on certain levels, she still had it. Her vocals are as strong as ever on these tunes, and Garland has fun with an audience obviously enraptured by her charms. She's self-deprecating where necessary–on "You Go to My Head" she "forgets" the lyrics but pretends to improvise. Mostly she just shines, especially on tunes she made famous, such as "Come Rain or Come Shine," "Stormy Weather," and "Over the Rainbow." This is easily one of pop music's greatest live recordings and a fine testament to Garland's recorded legacy. This two-CD set has been remastered for EMI's 40th-anniversary reissue to coincide with the ABC film based on daughter Lorna Luft's memoir Me and My Shadows.

An intensely powerful singer and guitarist, Elmore James did not start his recording career until he was 33, and he only lived to be 45, but he made a very strong impact during his dozen years on records. Some of his finest work was cut for the Fire label during 1959-1961, roughly half of which is included on this single CD. Other than a final outburst of selections during February 1963, these were James' last studio sessions, and he is heard at the peak of his powers throughout. Among the best-known performances are the hit "Shake Your Moneymaker," "The Sky Is Crying," and a remake of his famous "Dust My Broom," but all 16 selections are full of passion and fire. This is an essential acquisition for blues collectors, at least until a more complete James on Fire reissue comes out.

On his third album, Jackson Browne returned to the themes of his debut record (love, loss, identity, apocalypse) and, amazingly, delved even deeper into them. "For a Dancer," a meditation on death like the first album's "Song for Adam," is a more eloquent eulogy; "Farther On" extends the "moving on" point of "Looking Into You"; "Before the Deluge" is a glimpse beyond the apocalypse evoked on "My Opening Farewell" and the second album's "For Everyman." If Browne had seemed to question everything in his first records, here he even questioned himself. "For me some words come easy, but I know that they don't mean that much," he sang on the opening track, "Late for the Sky," and added in "Farther On," "I'm not sure what I'm trying to say." Yet his seeming uncertainty and self-doubt reflected the size and complexity of the problems he was addressing in these songs, and few had ever explored such territory, much less mapped it so well. "The Late Show," the album's thematic center, doubted but ultimately affirmed the nature of relationships, while by the end, "After the Deluge," if "only a few survived," the human race continued nonetheless. It was a lot to put into a pop music album, but Browne stretched the limits of what could be found in what he called "the beauty in songs," just as Bob Dylan had a decade before.

Modern Art is the prelude recording for Art Farmer prior to his partnership with Benny Golson in the Jazztet, and also foreshadows the classy, tasteful inventiveness that group brought to the modern jazz world two years after this 1958 session. Pianist Bill Evans is in here, just before his pivotal work with Miles Davis on the classic album Kind of Blue, and was the table setter for McCoy Tyner's membership in the Jazztet. Brother Addison Farmer on bass and the great drummer Dave Bailey round out this sterling quintet that specializes in playing music with a subtle approach, which is neither tame nor conservatively lazy. Included on this date is the great Junior Mance tune "Jubilation," perfectly understated in a light gospel, soul-jazz, tuneful melody with both horns wonderfully matched up in balanced unison, side by side.

After a seven-year hiatus, Graham Nash returned to his solo career on Earth & Sky. While much of the material may have originated as an on-again/off-again collaboration with David Crosby (guitar/vocals), by the time the LP hit the racks in 1980 there were only traces of Crosby's input scattered throughout. One primary contribution highlighting the pair is the organic and acoustic "Out on the Island," and is likewise one of the best sides of the effort. In support of Nash is an all-star ensemble centering on the infamous "Mighty Jitters": Russ Kunkel (drums/percussion), Tim Drummond (bass), Danny "Kootch" Kortchmar (guitars), David Lindley (guitar/violin/vocals), and Craig Doerge (keyboards). The opening title cut, "Earth & Sky" has the earmark of a mid-tempo Jackson Browne rocker and boasts a tasty guitar lead from Joe Walsh.

Not long after the 1994 release of Plugged In, Dave Edmunds chose to tune out, slowly winding his way back to his native Wales, where he essentially acted as a hermit. Occasionally, he'd show up on-stage – or on Jools Holland's Later – but his active career essentially ceased, punctuated by the live album A Pile of Rock (a title often recycled in his career) documenting a one-off European show from 1997, plus a 2000-era largely instrumental album called Musical Fantasies. With this in mind, the release of …Again in 2013 is big news: it appears to be his first new album in nearly two decades. This isn't the case. …Again is a curious thing, a 15-track collection that contains no less than nine of the 11 songs on 1994's Plugged In, along with "Return to Sender," his contribution to the Otis Blackwell tribute Brace Yourself (released in 1994, but recorded in 1991), plus five new songs. It's not quite enough to be considered a full-fledged comeback but it's slightly more than tossed-off bonus tracks, too, as these new contributions spin the Plugged In material in a slightly different direction.

Looking at the cover, which shows Michael and none of his four brothers, one wouldn’t get the idea that this three-disc set is two-thirds Jackson 5 material. While Michael obviously features prominently in the Jackson 5 songs on The Motown Years, he gets one disc to himself. Altogether, this box collects all the essential J5 and Michael singles and more, including 'ABC', 'Never Can Say Goodbye', 'I Found That Girl', 'I Am Love', 'The Love You Save', 'Ben', 'Rockin’ Robin', and 'I Wanna Be Where You Are'. Released in the U.K., it retails for the price of a single disc and is a convenient way to scoop up a large quantity of high-quality ‘70s pop-soul.

This 45-song, two-disc collection is subtitled "two decades of killer fretwork", and never was a set so aptly described. Chess Records was the home to seemingly every hot guitar player in the Chicago area, and many of them make their appearance here. Besides the usual label guitar hotshots (Muddy Waters, Jimmy Rogers, Chuck Berry, Bo Diddley, Buddy Guy, Lowell Fulson, Earl Hooker, Otis Rush, Robert Nighthawk, Little Milton), space is given to sideman work from legends like Hubert Sumlin and Robert Jr. Lockwood and great one-offs by lesser-known artists like Jody Williams, Danny Overbea, Eddie Burns, Joe Hill Louis, Morris Pejoe, Lafayette Thomas and others. It seems as if everyone recorded for Chess at one time or another, also explaining the inclusion of tracks by John Lee Hooker, Albert King, Clarence "Gatemouth" Brown, Lonnie Brooks, Hound Dog Taylor and Elmore James. If electric blues guitar's your thing, then look no further than this fine two-disc compilation.

This is the first of two CDs issued by Concord Jazz compiling some of the best tracks from Emily Remler's sessions for that label. Cut short at a far too early age by a heart condition while touring in Australia, Remler had all the talent necessary to carve herself a niche in the jazz world as a premier jazz guitar interpreter and performer. Retrospective, Vol. 1 is probably the superior of the two volumes, as it includes, among other gems, an enticing unaccompanied rendition of "Afro Blue." Remler had the ability to be expressively warm with a romantic ballad, as on "In a Sentimental Mood," but she excelled on tunes that allowed her to bring out her hard bop credentials, especially in the company of similarly tough-minded rhythm sections. She displays those credentials on several tracks, such as "Hot House" and "Daahoud," where she is joined by the inestimable Hank Jones on piano and Marvin "Smitty" Smith on drums. "Del Sasser" is the sole representative from that intriguing album she made with trumpet player John D'earth.