Soundboard recordings. Live at Mississipi Valley Fairgrounds, Davenport, MI, July 27, 1974, Nassau Coliseum, Uniondale, NY, June 30, 1974, Civic Centre, Providence, RI, July 10, 1974, Capitol Centre, Largo, MD, October 4, 1974.

El álbum "A Tu Vera (50 Canciones Inolvidables)" de Lola Flores es una recopilación que destaca lo mejor de la carrera de esta icónica artista española. Lola Flores, conocida como "La Faraona", fue una cantante, bailaora y actriz que dejó una huella indeleble en la cultura española con su estilo único y apasionado.

Spirit's 1968 debut album spent more than six months on the Billboard album charts and received heavy airplay on underground FM radio. Their music was part of the core, essence, and heartbeat of the the hippie, psychedelic, counter culture movement. The album is timeless, as fresh today as when it first appeared. The band could play more styles than almost any other group. On Spirit they unveiled a mélange of rock, jazz, blues, folk-rock, and even a bit of classical and Indian music. The music is experimental. The vocals flow as easily as the instrumentals. Spirit struck a careful balance between disciplined studio chops, jazz improvisation, and driving rock and roll. Guitar prodigy Randy California is a clear standout, but the other band members are superb as well; John Locke's shimmering keyboards, Mark Andes' subsonic wall of bass, and Ed Cassidy's precision drumming. Big credit has to go to lead singer Jay Fergusson, whose phrasing is always just right with a wonderful spontaneous feel. The Marty Paich string arrangements are sublime.

Live at Wiltern Theater in Los Angeles, USA - July 27th 1988. Excelent Soundboard recording. For the avid bootleg collectors, a new gem has popped up: STING – July 27, 1988 Los Angeles “Wiltern Theatre” – Soundboard recording. This show was part of the second US-leg of the 1987/ 1988 Nothing Like The Sun tour. Most of the shows were performed in large arenas or at special summer festivals. He did however play in the intimate Wiltern Theatre on July 27. Only about 2,300 people were able to attend this very special and long show. Sting and the band performed all the songs they did during the other dates of the tour, but many extra songs were added. The show also included several interesting covers (including songs by George Gershwin and Frank Zappa). This resulted in the longest Sting show ever. A whopping 172 minutes, or almost 3 hours. Some members of the band had the chance to perform some songs of their own: Dolette McDonald, Delmar Brown, Kenny Kirkland and Branford Marsalis provided some very high quality moments. During the tour Sting liked to perform songs in the language of the particular country. That night in California he sang all those songs in French, German, Italian and Spanish. Now, the funny part is that In 1988/ 1989 there were serious plans to release a live album of (parts of) this show. The artist Robert Gligorov already made artwork for the album. Somehow the whole project was withdrawn by the record company and the official album was never released.

Well you know what they say about stupid questions? So we'll ignore that and tell you instead what's a Funkadelic compilation. Oh yes, 29 tracks - in this case odd is most definitely better than even - of undiluted excessive but somehow beautiful funkiness, courtesy of the seminal Westbound Recordings of George Clinton's funky rock band. George's biggest hits might have come towards the end of the 70s on Warner Brothers, and in the early 80s on Capitol, but he defined what he was all about at the Detroit label in the early to mid 70s. He recorded a series of albums that took rock, soul and funk, blended them with a self mythologizing, drug-fuelled aura, and came out with one of the most influential catalogues in rock'n'roll.

The Disco Demands series started sometime in the early 2000s - I couldn't give you an exact year because it didn't feel like a big deal, so I never noted it. I simply wanted to put out a compilation of some records I really liked and maybe make a little of the money back I was spending on them. Buy some food and stuff.
There's always been Disco comps around of course but there was rarely anything that strayed too far from the standards.. the same songs kept appearing over and over again, or the comps would feature records you could pick up anywhere for little money. I've never seen the point in that. I gave up judging a record on its value or rarity a long time ago but surely there's more to disco than Exodus, Martin Circus, Mass Production and all those Salsoul, West End and bloody Prelude records. So it was a nice surprise to find that there were other people out there who thought the same way.

The recording you have in your hand documents the start of John McLaughlin’s journey towards his ideal acoustic guitar trio. For various reasons neither Larry Coryell or Christian Escoudé made it to the end of the journey, being replaced by Al Di Meola and Paco De Lucia, but both were more than capable of holding their own as this concert shows. Escoude, a gypsy-jazz child progidy, came to international attention at the 1978 Nice Jazz Festival; Coryell, a legendary jazz-rock pioneer with virtuosic acoustic skills, was already well known to McLaughlin. The concert was performed at the Den-en Coliseum, Tokyo, Japan July 24,1980, and broadcast by NHK radio.

Now-Again Records, in conjunction with Jazzman Records, presents an expanded version of the compilation that introduced many listeners to the sound of the unsung musicians who, in the midst of the Vietnam War and the fallout of the Civil Rights struggle, created some of the most beautiful spiritual and meditative music of the era. The music was at times funky, at times contemplative, but it always strived to say something about the world in which the musicians lived.

Joseph Keilberth conducts Mozart’s Symphony No. 40 with a stern lyricism not unlike that found on George Szell’s Cleveland recording. Keilberth’s quick tempos, sensitive yet unsentimental phrasing (particularly so in the first movement), and clear textures make the music sound with a compelling freshness and vibrancy that you would better expect from a modern authentic-style performance than one from December, 1966. If anything, the Brahms Second is even finer. A wholly natural flow characterizes this reading, as if the music were a living thing, devoid of any need for interventionist interpretation. Under Keilberth the first movement’s melancholy tinged with joyfulness emerges freely, while the Adagio emerges as a single rapturous, cogent paragraph. Even the studied finale relaxes and sounds less rigorously Beethovenian.

Mit seinem elaborierten, polyphonen Schaffen gilt der "Römisch Kayserliche Cammer-Organist" im Dienst des Habsburger-Kaisers Ferdinand III. in Wien als Schlüsselfigur der Musik im 17. Jahrhundert. Er ist der erste expressive Virtuose und Komponist für Tasteninstrumente, der Begründer eines idiomatischen deutschen Clavierstils. In allen Clavier-Gattungen seiner Zeit setzte der Frescobaldi-Schüler Froberger dabei Maßstäbe, komponierte Fantasien, Canzonen, Suiten, Ricercare und Capriccios für Orgel, Cembalo und Clavichord. Für Johann Sebastian Bach wurde das innovative Suitenwerk zum Vorbild. Vor allem seine Toccaten im sogenannten "stylus fantasticus" sorgten mit eruptiven Wechseln von rhapsodischen und fugierten Abschnitten für Furore.

Jimmy Rogers was very much a musician's musician – the kind of guitarist that earned accolades from contemporaries and successors alike – yet one who never wins a wide, mainstream audience. Blues Blues Blues was designed as the album that would find Rogers a larger audience, and as such, it has all the bells and whistles of a big-deal blues album. It has the classics ("Trouble No More," "Bright Lights, Big City," "Sweet Home Chicago," "Don't Start Me to Talkin'"), remakes of Rogers standards ("Ludella," "That's All Right"), cult covers (Muddy Waters' "Blow Wind Blow," which kicks off the album on just the right note) and an astounding number of guest appearances, including cameos from (get ready): Jimmy Page and Robert Plant, Keith Richards and Mick Jagger, Lowell Fulson, Johnnie Johnson, Eric Clapton, Taj Mahal, Ted Harvey, Carey Bell, Stephen Stills, and Jeff Healey.

This release is the fruit of the French pianist Nicolas Stavy’s efforts to uncover unknown works by Dmitri Shostakovich. Spanning some fifty years of the composer’s career, these rarities include early piano pieces influenced by Chopin and the fragment of an unfinished violin sonata, but is bookended by arrangements of symphonic music, by Shostakovich himself and by Mahler, a constant influence.

Pretzel Logic is the third studio album by American rock band Steely Dan, released on February 20, 1974, by ABC Records. It was written by principal band members Walter Becker and Donald Fagen, and recorded at The Village Recorder in West Los Angeles with producer Gary Katz. It was the final album to feature the full quintet lineup of Becker, Fagen, Denny Dias, Jim Hodder, and Jeff "Skunk" Baxter (who left to join The Doobie Brothers) and also featured significant contributions from many prominent Los Angeles-based studio musicians and the last to be made and released while Steely Dan was still an active touring band. The album was a commercial and critical success. Its hit single "Rikki Don't Lose That Number" helped restore Steely Dan's radio presence after the disappointing performance of their 1973 album Countdown to Ecstasy. Pretzel Logic was reissued on CD in 1987 and remastered in 1999 to retrospective critical acclaim.

In the Court of the Crimson King (subtitled An Observation by King Crimson) is the debut album from the English rock band King Crimson, released on 10 October 1969 on Island Records in England and Atlantic Records in America. The album is one of the first and most influential of the progressive rock genre, where the band largely departed from the blues influences that rock music was founded upon and combined elements of jazz, classical, and symphonic music. The album reached No. 5 on the UK Albums Chart and No. 28 on the US Billboard 200, where it was certified Gold.

1997 release, a two-on-one (and part of EMI's Centenary series) for this pair of 1960 albums by the songstress, eachwith a bonus track! 'Latin Ala Lee!' adds ''Till There Was You'; 'Ole Ala Lee!' adds 'Together Wherever We Go'. 24 tracks total.