This world premiere recording reveals a new masterwork by the 18-century Italian master Giovanni Battista Pergolesi, brilliantly reconstructed by musicologist Malcom Bruno from the composer's single-movement woks. Most of this music has been lost or forgotten since its creation more the 250 years ago, and most, if not all, has never been recorded.

The very idea that Manfred Mann, perhaps Great Britain's longest running rock band - other than the Rolling Stones - would have "hits" in the 21st century is rather odd and inaccurate (perhaps "hits according to who?" is the question). This set nonetheless features two CDs and 36 tracks. Virtually every single from the earliest Manfred Mann band is here, including "Do Wah Diddy Diddy," "Mighty Quinn," "5-4-3-2-1," "Sha La La," "Hubble Bubble (Toil And Trouble)," as well as wild covers of the hits of the day - because after all, Manfred Mann were, more than anything else, a cover band - "Fox on the Run," "Handbags and Glad Rags," "Just Like a Woman," "If You Gotta Go, Go Now," and of course, the tracks that put retirement money in Bruce Springsteen's bank account: "Blinded By The Light," "For You," and "Spirits In the Night"…

Digitally remastered edition of this album from the French electronic music pioneer. Geometry of Love is the fifteenth studio album by Jean-Michel Jarre, originally released in October 2003. This album has more in common with the preceding Sessions 2000 album than releases prior, but the style here is still more electronica than jazz. The music was to be lounge music, played in the background or in the chill-out area of a club. The album was commissioned by Jean-Roch, as a soundtrack for his VIP Room nightclub in France.

North, Elvis Costello's 20th album of new material, follows the deliberately classicist When I Was Cruel by a mere year, but it feels more the sequel to 1998's Burt Bacharach collaboration, Painted From Memory, or even 1993's roundly ignored classical pop experiment, The Juliet Letters. Costello has abandoned clanging guitars and drums of Cruel – abandoned rock & roll, really – to return to a set of classically influenced songs, all "composed, arranged and conducted" by the man himself (on The Juliet Letters, he was merely the composer and voice).

This record was a collaboration between Philip Oakey, the big-voiced lead singer of the techno-pop band the Human League, and Giorgio Moroder, the Italian-born father of disco who spent the '80s writing synth-based pop and film music. It is a testimony to Moroder's fame as a composer that he was able to earn equal billing with Oakey for a record he co-wrote and produced, but for which he supplied no more than "occasional synthesizers" as a musician. The music is not substantially different from the standard fare from the Human League or, for that matter, almost any other synth-based Europop band in the '80s.

Johnny Cash's fourth project with producer Rick Rubin continues on the same path as many of their previous releases: Cash's warm and rumbling baritone over minimal production and gentle duets with some surprising guests. One of the things that sets American IV: The Man Comes Around apart from the others is Cash's song selections. The success he experienced with his previous interpretations of contemporary songwriters (Soundgarden's "Rusty Cage," Nick Cave's "The Mercy Seat") is applied to this album with varying degrees of success. His throaty reading of Nine Inch Nails' "Hurt" easily fits into his "Man in Black" persona, and the spiritual conviction underlying Depeche Mode's "Personal Jesus" is certainly powerful.

Wolfgang Amadeus Mozart a composé dix-sept sonates d'église (sonate da chiesa) entre 1772 et 1780. Il s'agit de pièces brèves en un seul mouvement conçues pour être interprétées durant la célébration de la messe entre l'épître et l'évangile (d'où le nom qu'on leur attribue parfois : sonates de l'épître). Trois des sonates sont écrites pour un effectif plus orchestral, qui comprend des hautbois, cors, trompettes et timbales, alors que les autres sont écrites pour orgue et cordes (sans les altos). Dans huit des sonates, l'orgue a une partie de solo obbligato (K 224/241a, 225/241b, 244, 245, 263, 328/317c, 329/317a et 336/336d), alors que dans les neuf autres, l'orgue joue uniquement la basse continue.

Veteran Latin crooner Julio Iglesias released his top charting album 'Divorcio,' in 2003, led by the radio single "Corazon de Papel" (Heart Of Paper). Julio once again proves what a master he is at creating romantic music as songs that are made for the dancefloor. In it's first day of sales, 'Divorcio' sold a record 350,000 albums in Spain and reached the number 1 spot on the charts in Spain, Portugal, France, Italy, and Russia. In 2003 and 2004, aided by the success the album, Iglesias went on a ten-month world tour which took him from Europe to Asia and then on to North America, South America and Africa. More than half the shows on that tour sold out within days of going on sale. Every song on this album is a gem, each in it's own right, and beautifully arranged.

Mannerisms may be expensive and difficult to find, but it's the place to start collecting Manfred Mann's post-EMI material. The compilation was originally issued in 1976, containing a dozen A-sides and notable album tracks, and it was decent as far as it went, filling in a few holes and re-exposing some worthwhile album tracks. What will surprise many listeners (especially Americans, who may well never have heard of, much less heard, these sides) is how late Manfred Mann embraced the basic British Invasion sound, well into 1967, and also how good a psychedelic band they were.

Manfred Mann always used the long-play format to showcase its virtuosity and range of influences away from the world of pop singles. This was evident early in the band's career with albums such as The Five Faces of Manfred Mann, which was a hardcore R&B album, far removed from the pop sensibilities of singles like "Do Wah Diddy Diddy" and "Sha La La." The contrast between this album and their singles output of 1968 is not quite as stark, as the LP contains pop material such as "It's So Easy Falling" and "The Vicar's Daughter." More unorthodox selections include "Cubist Town," "Harry the One-Man Band," and "Country Dancing," which showcase the eclectic side of the group.

The departure of frontman Paul Jones left Manfred Mann with a large void to fill in the summer of 1966. Not only was Jones a charismatic vocalist, he was also a writer and one of Manfred Mann's key selling points with the record buying public. The group's record company, HMV, realised this and hedged their bets by signing Jones for a new solo deal, but dropping the band from its roster. In late 1966 while Jones was enjoying success with his first solo single, "High Time," a new version of Manfred Mann emerged with a cover of Bob Dylan's "Just Like A Woman" on Fontana. The new line up featured Mike D'Abo as vocalist (previously with A Band Of Angels) and was augmented by Klaus Voorman on bass, with Tom McGuiness switching to lead guitar. Despite the magnitude of this personnel change, the single was a top 10 hit and paved the way for this album, As Is.

It's about time these early Canned Heat albums were made available once again! Thanks in part to their appearance in the Monterey Pop and later Woodstock festival films, these two albums, especially Boogie With Canned Heat, built Canned Heat's reputation as a top-notch white blues band of the late '60s. The self-titled disc from 1967 features a rough mix of originals and blues standards, including "Catfish Blues," "Rich Woman," and "Big Road Blues." Boogie was released the following year and actually contained a hit single, "On the Road Again." The other tracks on the album, especially "Fried Hockey Boogie" and "Amphetamine Annie," became staples of early FM underground radio. Canned Heat would rarely sound this together as a working unit in the studio again.

Radio K.A.O.S. is the second solo studio album by English rock musician and former Pink Floyd member Roger Waters. Released on 15 June 1987 in the United Kingdom and June 16 in the United States, it was Waters' first solo album after his formal split from Pink Floyd in 1985. Like his previous and future studio albums and many works of his during his time with Pink Floyd, the album is a concept album based on a number of key topical subjects of the late 1980s, including monetarism and its effect on citizens, popular culture of the time, and the events and consequences of the Cold War. It also makes criticisms of Margaret Thatcher's government, much like Pink Floyd's The Final Cut, another album conceived by Waters.

Sheryl Crow was one of the key artists of the '90s, if the yardstick is capturing the sound and spirit of the time. A former backing vocalist for Michael Jackson – an association that led to dubious tabloid headlines romantically linking her with the singer long before she was a star in her own right – she rode the first great wave of Women in Rock hysteria of the alt-rock explosion to fame with her first album, Tuesday Night Music Club, in 1994, settling into the weary aftermath of the post-grunge years with her brilliant eponymous second album in 1996, riding out the end years of the Clinton administration with the measured, mature Globe Sessions in 1998, and then defying the gloom of the W years by soaking up the sun on 2002's C'mon C'mon.

François Campion est généralement considéré comme le plus important guitariste baroque français après Robert de Visée. Il succède à Maltot comme guitariste et théorbiste dans l'orchestre de l'Académie royale de Musique de 1703 ou 1704 à 1719. Maltot lui transmet la règle de l'octave qu'il consignera plus tard dans son Traité d'Accompagnement (1716). Il reçoit alors le titre Maître de guitare et de théorbe à l'Académie royale de Musique de la part du roi Louis XIV (on pense qu'il a bénéficié la protection du duc de Noailles). Il utilise des tablatures, très courantes à cette époque, pour l'écriture de ses pièces pour guitare. Il emploie 8 accords. On considère ses compositions comme claires et riches en modulations et développant le jeu de l'instrument.