Analogue Productions (Atlantic 75 Series). Celebrating the 75th Anniversary of Atlantic Records! 180-gram 45 RPM double LP release. Limited numbered edition pressed at Quality Record Pressings. Tip-on old style gatefold double pocket jackets with film lamination by Stoughton Printing. Side D has The Cinema Show / Aisle Of Plenty listed as one track.

Auch diese EP enthält einen Mix, der bisher nur auf Vinyl zu bekommen war: den Specially Remixed 7" Edit. Dieser war 1984 lediglich auf einer niederländischen Single erschienen und wurde nun erstmals digital veröffentlicht.

Most classical devotees know that Espana! features legendary Spanish conductor Ataulfo Argenta leading the London Symphony Orchestra in a program of so-called "Spanish" blockbusters. But, ironically, only one piece is penned by a Spanish composer (Granados, "Danza Espanola") while the others are by a Russian (Rimsky Korsakov, "Capriccio Espagnol"), German (Moszkowski, "5 Spanish Dances"), and Frenchman (Chabrier, "España"). The original LP version was initially issued in the United States as one of the index recordings of London Records' vaunted "blueback" series, known for its demonstration-quality sound.

"No Prayer for the Dying" is the eighth studio album by British heavy metal band Iron Maiden. It marks their first line-up change since 1983; guitarist Adrian Smith left the band during the pre-production phase, unhappy with the musical direction it was taking, and only having contributed to one song, "Hooks in You". Smith was replaced by Janick Gers, who had previously worked with singer Bruce Dickinson on his first solo-album, "Tattooed Millionaire", and had also worked with Ian Gillan, former Marillion singer Fish, and New Wave of British Heavy Metal band, White Spirit.

"Fear of the Dark" is the ninth studio album released by British heavy metal band Iron Maiden. Released on 11 May 1992, it was their third studio release to top the UK albums chart and last to feature Bruce Dickinson as lead vocalist until his return in 1999.

"The Next Day" is the highly anticipated album by rock legend, David Bowie. The influential musician surprised fans with a haunting video for a new song entitled "Where Are We Now?" and buzz soon began. Produced by long-time collaborator Tony Visconti, "The Next Day" is Bowie's first album in ten years. This rich artistic statement has already received praise from The Guardian, The Independent, The Times, Rolling Stone, Billboard, and many others. Bowie's impressive track record includes album sales exceeding 130 million and countless sold-out shows. His vocals and bold songwriting are as strong as ever.

The prodigious trumpeter Freddie Hubbard debuted on Blue Note in 1960 and produced an astounding run of recordings over the first half of the decade that culminated with Blue Spirits, which was the last of his 1960s studio albums for the label. This bluesy and spirited album presented five evocative Hubbard originals, each of which was given a richly textured arrangement for an ensemble that included a dynamic four-horn line-up. Drawn from two different sessions, the first date produced the gratifying opening track “Soul Surge” and the percolating “Cunga Black” with Hubbard joined by James Spaulding on alto saxophone and flute, Joe Henderson on tenor saxophone, Kiane Zawadi on euphonium, Harold Mabern on piano, Larry Ridley on bass, Clifford Jarvis on drums, and Big Black on congas. A week later Hubbard returned to Van Gelder Studio with Spaulding, Zawadi, and a slightly different line-up including Hank Mobley on tenor saxophone, McCoy Tyner on piano, Bob Cranshaw on bass, and Pete LaRoca on drums. This 2nd session rounded out the album with hard-charging performances of “Outer Forces” and “Jodo,” as well as the mesmerizing title track.

Soli Deo Gloria is proud to release the third instalment in the successful Brahms Symphony series which sees John Eliot Gardiner and his Orchestre Révolutionnaire et Romantique explore the music of Johannes Brahms.

Perhaps the perfect starting point for a reappraisal of Duke Pearson’s underrated career is his fantastic and aptly titled 1967 album The Right Touch. The album stands as perhaps the finest in Pearson’s discography and is a showcase of his sublime talents as a pianist, composer, and arranger. The Right Touch is comprised of six memorable Pearson compositions arranged for a dynamic 8-piece band featuring trumpeter Freddie Hubbard, trombonist Garnett Brown, alto saxophonist James Spaulding, alto saxophonist/flutist Jerry Dodgion, tenor saxophonist Stanley Turrentine, bassist Gene Taylor, and drummer Grady Tate. Highlights of the set include the picante opener “Chili Peppers,” the lightly swinging “Make It Good” (a feature for Pearson’s elegant piano stylings), the exquisite bossa nova ballad “My Love Waits (O Meu Amor Espera)” on which Hubbard’s flugelhorn takes the lead, the down-home blues “Scrap Iron” which seems to have been custom made for Turrentine’s soulful tenor, and the whirling album closer “Rotary” which swings round and round as the soloists each make their emphatic closing statements.