Love over Gold is the fourth studio album by the British rock band Dire Straits released on 20 September 1982 by Vertigo Records internationally and by Warner Bros. Records in the United States. The album produced two singles, "Private Investigations", which reached number 2 on the UK Singles Chart, and "Industrial Disease", which reached number 9 on Billboard's Hot Mainstream Rock Tracks chart in the United States. The fourteen-minute opus, "Telegraph Road" has gone on to become a favourite on FM radio worldwide. The album reached number 1 on album charts in Australia, Austria, Italy, New Zealand, Norway and the United Kingdom, and number 19 in the United States. Love over Gold was later certified gold in the United States, platinum in France and Germany and double-platinum in Canada and the United Kingdom.

Alberta Cross return with a new take on their timeless debut album ‘The Thief & The Heartbreaker (Reimagined)’, which set the foundation for their Americana-tinged indie and alternative sound.

Danger Money is the second and final studio album by the progressive rock supergroup U.K., featuring John Wetton , Eddie Jobson and Terry Bozzio. It was released by E.G. Records / Polydor in March 1979. "The Only Thing She Needs", "Caesar's Palace Blues" and "Carrying No Cross" had been performed on tour throughout 1978 (and an early version of "Carrying No Cross" included what became the intro to the title track) by the band's original line-up with Bill Bruford and Allan Holdsworth. "Rendezvous 6:02" and "Nothing to Lose" were both edited for single release.

The Last Will And Testament (CD jewel case) "The Last Will and Testament" is a concept record of sorts. A restless musical journey in a way mirroring my own relationship with music as a consumer of it," narrates band leader Mikael Åkerfeldt. "I pick up something here, dismiss something there. I worship and I hate music at the same time. This ambivalence leads me down some type of creative path of my own and then, all of a sudden, a collection of songs has been written. Best case scenario, these songs are good enough to impress the band. Good enough for the "powers that be" in terms of the industry. Good enough for "you"?! I love this record. I have to say it (write it). Maybe I'm proud even? There are some familiar ingredients in there I suppose. Most of our music has sprung from the same source, so I guess it's not much of a shocker if it's going to sound like "us". I'm a bit in awe of what we did with "The Last Will and Testament". It feels like a dream. There is some "coherence" and " songwriting skills" I hope, but what do I know? I tend to favour the "strange" over the "obvious", but I feel like I'm in the minority, and that's fine. So… fair warning! Don't expect an instant rush (as per usual), but if you do "get it" (have you got it yet?) right away, that's ok too!"

TED MULRY first came to the attention of the music industry when he sent a demo of some of his own compositions to Albert Productions in Sydney. The company persuaded him to become a recording artist and he soon rose to fame as a solo singer/songwriter with his own composition, the pop ballad “Julia”, which made the Australian charts in 1970.
He followed that with “Falling in Love Again”, a song by The Easybeats songwriting team Harry Vanda & George Young, which was a major hit in 1971.Mulry was a prolific songwriter, and a number of bands and artists, including John Farnham and Alison MacCallum, recorded his songs. Most notably, rock band Sherbet had a hit with his song, “You’re All Woman”.

Alessio Elia’s (b.1979) compositions are inspired by the acoustic nature of the sounding universe, its inner laws. Perhaps this is why, from the first moment of listening, these works feel organic natural and euphonic but also ordered, planned and clear.

God in Three Persons is a rock opera/concept album by The Residents, released in 1988. It was about a man 'Mr. X' and two conjoined twins. The songs are all sung in a rhythmic spoken word fashion, similar to talking blues. A companion soundtrack album, featuring most of the instrumental backing tracks, was also released. A central motif of the album is the organ riff from "Double Shot (Of My Baby's Love)" by 1960's frat rock band The Swingin' Medallions.

Cage et Dowland: les deux John, à quatre cents ans de distance, se répondent par un goût commun pour une expression sobre, des formes concises, une réalisation intime - pour le plaisir aussi que procurent les mots en tant que tels. Chacun cultive ce désir à sa manière: Cage entreprend, en funambule, de s’approcher de l’essence de la pensée musicale avec humour, légèreté et profondeur; Dowland vise l’expression des sentiments à l’état pur.
Cultivant comme toujours un anachronisme fécond, Thélème rassemble dans ‘all we get is life’ l’intégralité des pièces pour deux voix et luth de Dowland et plusieurs compositions de Cage. Enfin, Sting, artiste à la renommée internationale, offre une réécriture de son tube ‘Shape of my Heart’, qui devient ici une sorte de ‘lute song’ du XXIe siècle, bouclant ainsi la boucle dans un album où Renaissance et présent se croisent, entrent en dialogue, se mêlent et se confondent pour transcender les frontières des esthétiques et des genres.

Davy Graham was one of the most eclectic guitarists of the 1960s, and his mixture of folk, blues, jazz, Middle Eastern sounds, and Indian ragas was an important catalyst of the British folk scene. Like Sandy Bull and John Fahey – two folk-based guitarists with a similar taste for genre-bending experimentation – Graham could not be said to be a rock musician. But like Bull and Fahey, he shared the eagerness of the '60s psychedelic rockers to stretch out and incorporate unpredictable influences into his music. While he wasn't much of a singer, Graham's taste in material was broad and shrewd, encompassing blues, ragas, Joni Mitchell, Charles Mingus, and the famous instrumental "Anji," which Graham recorded in 1962, way before the more famous versions by Bert Jansch and Simon & Garfunkel. Collection includes: The Guitar Player (1963); Folk, Blues & Beyond… (1965); Midnight Man (1966); Large As Life And Twice As Natural (1968); Hat (1969); Godington Boundry (1970).

When the Quatuor Ysaÿe dares… all together twelve concerts LIVE in Paris! Played without a safety net at the Auditorium of the Musée d’Orsay! These were the conditions needed to recreate the uncompromising universe of the Beethoven quartets, a true musical Everest. Here, at the very peak of its art, the Quatuor Ysaÿe offers the final dazzling demonstration of the unique rigor and sensibility that for thirty years marked it out as one of the finest in the world.

‘Aspects’ portrays the Aquarelle Guitar Quartet’s love of musical diversity. It is a collection of music that observes a startling variety of perspective and which reflects the group’s ability to craft an emotive and diverse musical tapestry. The album includes original works for four guitars, arrangements that have been made by members of the group, and even a new work written especially for this project. ‘Aspects’ is both retrospective and prospective: it includes favourites which the Quartet has been performing for many years and also pieces which it has learnt specifically for this recording and which will form the basis of new concert programmes in the future.

The long established musical relationship between guitarists Dave Specter and Steve Freund goes back nearly 20 years, when Specter sought out Freund as a guitar teacher. They have shared many stages, but this marks the first occasion that they have recorded together. In the best of the Chicago blues tradition as illustrated by the legendary Delmark label, Is What It Is is a loose, swinging, tough blues date filled with great tunes, inspired playing and loose-groove vibes. While Specter has become well-known for his jazzy blues playing, his former teacher Freund has stayed close to the roots of the Chicago sound. That contrast works beautifully here on both covers and originals. Freund's tunes are some of the bets on the set as evidenced by the opener "My Little Playhouse." One of the reasons for this is his deep, clear soulful singing which adds punch and nuance to the dueling guitars Specter brings classy elegance to the set in his instrumentals, like the title track that carries a deeply Southern-fried funk to the more urban Chicago sound and the shuffling gutbucket stroll of "Riverside Ride," where the two players wind around and through one another exuberantly.

The first in a new cycle of Dvořák symphony recordings, ‘Dvořák: Symphonies 5 & 6’ is the second release from the Melbourne Symphony Orchestra and its Chief Conductor and Artistic Advisor, Jaime Martín, on the MSO’s own recordlabel.

The Traveling Wilburys built upon George Harrison's comeback with Cloud Nine and helped revitalize the other supergroup members' careers, setting the stage for Bob Dylan's 1989 comeback with Oh Mercy, Tom Petty's first solo album, Full Moon Fever, produced by Jeff Lynne (sounding and feeling strikingly similar to this lark), and Roy Orbison's Mystery Girl, which was released posthumously. Given the success of this record and how it boosted the creativity of the rest of the five, it's somewhat a shock that the second effort falls a little flat.

No one, least of all Deep Purple themselves, expected the success of 2013's Now What?! It placed at number one on four European album charts and in the Top Ten of six other countries. It also sold exceptionally well: It was certified Gold in Poland, Germany (where it sold over 100,000), the Czech Republic, and Russia – it was the band's first album to crack the U.K.'s Top 40 charts in 20 years. For InFinite, Deep Purple re-enlisted producer Bob Ezrin. At this point, he is almost a sixth member. This the longest running lineup in their history. InFinite is a heavier and more expansive record than its predecessor, but it's not as consistent.