By late 1973, Marc Bolan's star was waning fast. No longer gunning out those effortless classics which established him as the most important figure of the decade so far, he embarked instead on a voyage of musical discovery, which cast him so far adrift from the commercial pop mainstream that when his critics said he'd blown it, he didn't even bother answering them back. Or that's the way it appeared at the time, and today, too, it must be acknowledged that 1974's Zinc Alloy & the Hidden Riders of Tomorrow is not classic Bolan, even if one overlooks the transparency of its title.

Digitally remastered edition of this second album from the Soul/Funk act. 1981 would see the release of Delegation II, which created such hits as the single 'I Wantcha Back', a low tempo, funky bass line driven Disco single. ' In The Night' stepped up the heat, again driven by the incredible talents of Jon Plotel on bass and the Lynton Naiff arranged string section. 'Singing' losed out the single releases, a big production number with some great performances by Jon Plotel, Lynton Naiff, Robert J. Ahwai on guitar and Kofi Aivor on percussion and of course the incredible horn section that feature throughout the album.

Delegation was a British soul musical group with a lengthy career, and an amount of international success. They are generally viewed in the U.S. as a one-hit wonder, based on the crossover hit, "Oh Honey" (1978). Their biggest UK success came in 1977, with the Top 30 hit single, "Where Is The Love (We Used to Know)" This 12-track album featured the soul classics "You've Been Doing Me Wrong" and "Oh Honey" and the disco tunes "Back Door Love", "Soul Trippin'", "The Promise of Love", and "Where is the Love We Used to Know".

Telecommunication demonstrates Azymuth's ability to occasionally get into trouble when resorting to hi-tech gimmickry for its own sake, but also illustrates how rewarding the Brazilian trio can be. With its vocoder-ish hijinks, the funk-influenced "May I Have This Dance" is a dated and corny bit of silliness unworthy of Azymuth. But there's also much to admire on this CD, including the haunting "The House I Lived In," the sensuous "Country Road," and the sentimental "Last Summer in Rio." Though keyboardist/pianist José Roberto Bertrami and bassist/guitarist Alex Malheiros do not always stretch out enough, the results are quite appealing when they do.

Narada Michael Walden (born Michael Walden on April 23, 1952 in Kalamazoo, Michigan) is an American producer, drummer, singer, and songwriter. He was given the name Narada by guru Sri Chinmoy in the early 1970s and his musical career spans three decades, in which he was awarded several gold, platinum and multi-platinum awards. Walden has also owned and operated Tarpan Studios, a well-known recording studio in San Rafael, California, since the mid-1980s.

Mercury/Polygram began recycling their Rod Stewart recordings almost immediately after he left the label for Warner. Rebound's The Ballad Album and its companion, The Rock Album, are simply '90s versions of such compilations as Sing It Again Rod. And, like that record, it's enjoyable despite its haphazard collection simply because Stewart's Mercury records were so good. There are a couple of odd choices here – his take of "(You Make Me Feel Like) A Natural Man)" is strangely misguided – but for the most part, the collection is quite enjoyable, thanks to such masterpieces as "Reason to Believe," "Mandolin Wind," "Angel," "Girl from the North Country," "Handbags and Gladrags," "Country Comforts," and "Tomorrow Is a Long Time." The original albums are still preferable to budget-line compilations, but casual fans will certainly enjoy this disc without reservations.

Solace is at once comforting, mysterious, expansive, timeless, and familiar. The sophomore jinx was certainly eluded here, as McLachlan sets forth a superior collection of songs and performances with the help of longtime producer Pierre Marchand. The opening track, "Drawn to the Rhythm," serves its title well and does the job of luring you in. Intelligent, intriguing lyrics and lilting melodies abound, whether amidst the pulsing rhythms of "Into the Fire" and "Back Door Man" or the quietly profound stories of "Home" and "Shelter." Although pretty much all of the tunes will grab you at one point or another, "The Path of Thorns (Terms)" and "I Will Not Forget You" are especially memorable, the latter not to be confused with McLachlan's "I Will Remember You," which appears on the 1995 soundtrack for The Brothers McMullen. Solace is a wonderful record that offers a glimpse of the astounding talent of a young Sarah McLachlan.

Formed in 1967 by former Motions guitarist Robbie van Leeuwen, Shocking Blue was joined by Cor van der Beek (drums), Klaasje van der Wal (bass) and Mariska Veres as lead vocalist. In 1969 and 1970, the group set the airwaves crackling and enjoyed a worldwide chart success with 'Venus' (which incorporated the help of studio musician Cees Schrama of Casey & The Pressure Group (also on vinyl), followed by several other hit singles. In 1972, they released their 6th album 'Attila', a solid pop album written entirely by Van Leeuwen, anchored by Marika's powerful vocals. Her incredible range and control is at times compared with Jefferson Airplane's singer Grace Slick. Noteworthy tracks on 'Attila' are 'Rock In The Sea', album opener 'Rattler' and the moody 'Wait'.

Lynne Dawson is the star of this show. In Act 2, where Ginevra finds herself inexplicably rejected and condemned by everyone, Dawson brings real depth of tone and feeling to her E minor lament, 'Il mio crudel martoro'; in the final act she shines in the desolate miniature 'Io ti bacio' and brings much fire to the outburst 'Sì, morro'. But she never transgresses the canons of Baroque style. Von Otter, too, has much marvellous music – the aria 'Scherza infida' is one of Handel's greatest expressions of grief – and she sings it beautifully, but she isn't really at one with his idiom and seems to lack a natural feeling for the amplitude of Handel's lines. Yet there's much to enjoy here too, the beauty of the actual sound, the immaculate control, the many telling and musicianly touches of phrasing.

Recorded in 2002, this release contains a unique program of the complete overtures of all Vivaldi’s operas. As an opera composer, Vivaldi has long been neglected, but these works showcase his great dramatic genius. Performances on period instruments by Modo Antiquo, conducted by Federico Maria Sardelli, one of the foremost specialists in this field, who has also recorded for full price labels such as Naïve and Deutsche Grammophon.

The Teskey Brothers special, acclaimed 2020 Christmas performance with Orchestra Victoria, Live At Hamer Hall, out now on digital, CD & deluxe double vinyl. On Live At Hamer Hall, the ARIA-winning, Grammy-nominated group's songs were spectacularly reimagined by arranger Jamie Messenger and performed live on stage at the iconic Melbourne venuewith Orchestra Victoria, led by conductor Nicholas Buc, and streamed live to fans across the world onYouTube but unavailable on any other format until now. The 50-minute performance features hits from the band's two critically acclaimed albums RunHome Slow (2019) and Half Mile Harvest (2017) and their two original Teskey Brothers Christmas songs, 'Dreaming Of A Christmas With You' and 'Highway Home For Christmas.'