A 2005 appearance on a German television program, followed by a tour - throughout which the original four members performed 1981's Architecture & Morality in its entirety - culminated in the first OMD album since 1996 (and this particular quartet’s first since 1986). History of Modern, for the most part, sounds like OMD. There are two alarming exceptions: “Sometimes” incorporates turntable scratching and guest vocalist Jennifer John, who interjects with lines from “Motherless Child,” while “Pulse” is oversexed and awkward neo-electro sleaze, full of bedroom whispers, moans, and yearning yelps. Most updates to the group’s sound are natural, though only a handful of the songs - the placid ballad “New Holy Ground” and the somehow cathartic and pensive “Green” especially - rate with the earlier material…

Twenty-one years ago, June Tabor and Oysterband got together to record what is now recognised as an English folk-rock classic. It wasn't exclusively a folk album, though there were some traditional tracks, but rather an eclectic, powerful reworking of anything from Lou Reed to Shane McGowan. Now, at long last, comes the followup that so many of us have been asking for, and it's no disappointment. The energy is still there, along with the desire to startle and experiment, but so is a new maturity and emotional depth, and even greater variety. The traditional songs include Bonnie Bunch of Roses, in which the stomping backing is never allowed to overshadow Tabor's no-nonsense storytelling; then there's a glorious melodeon and fiddle-backed treatment of Fountains Flowing, that song of parting and grief, and there's delicate, unaccompanied vocal harmony singing on the Scottish lament (When I Was No But) Sweet Sixteen. The contemporary songs range from a fiddle-backed stomp through Dylan's Seven Curses, through to a thoughtful, gutsy reworking of PJ Harvey's That Was My Veil, and a pained, acoustic version of Joy Division's Love Will Tear Us Apart.

Heady work from Paul Butterfield's second great group – his mighty Better Days ensemble, heard here in a nicely unbridled live set from the early 70s! Paul himself is mighty great on vocals and harmonica - but the group's a very cohesive unit, too - with additional vocals and guitar from Amos Garrett and Geoff Muldaur, organ and piano from Ronnie Barron, and some mighty heavy drums from Billy Rich! The music seems to have even more punch than on some of Butterfield's studio sessions - blues rock, but with a little something extra, too.

Following the breakup of the Smiths, Morrissey needed to prove that he was a viable artist without Johnny Marr, and Viva Hate fulfilled that goal with grace. Working with producer Stephen Street and guitarist Vini Reilly (of the Durutti Column), Morrissey doesn't drastically depart from the sound of Strangeways, Here We Come, offering a selection of 12 jangling guitar pop sounds. One major concession is the presence of synthesizers – which is ironic, considering the Smiths' adamant opposition to keyboards – but neither the sound, nor Morrissey's wit, is diluted. And while the music is occasionally pedestrian, Morrissey compensates with a superb batch of lyrics, ranging from his conventional despair ("Little Man, What Now?," "I Don't Mind If You Forget Me") to the savage political tirade of "Margaret on a Guillotine." Nevertheless, the two masterstrokes on the album – the gorgeous "Everyday Is Like Sunday" and the infectious "Suedehead" – were previously singles, and both are on the compilation Bona Drag.

Herman's Hermits four UK albums for EMI's Columbia label, dating between 1965 and 1968. All albums were produced by Mickie Most and feature UK and US hits such as 'I'm Henry The Eighth I Am', Mrs Brown You've Got A Lovely Daughter', 'Listen People', 'No Milk Today', 'There's A Kind Of Hush', 'Dandy' and 'You Won't Be Leaving' Digitally remastered and slipcased. New notes.
Herman's Hermits were one of those odd 1960s groups who accumulated millions of fans, but precious little respect. Indeed, their status is remarkably similar to that of the Monkees, and it's not a coincidence that both groups' music was intended to appeal to younger teenagers. The difference is that as early as 1976, the Monkees began to be considered cool by people who really knew music…

This has the look of a career-making recording from Scots violinist Nicola Benedetti, putting her up against difficult repertory that diverges from the crowd-pleasing fare that formed the basis of her career up to this album. It would have been hard to predict just how well she pulls off her task here; few could have heard the profound interpreter of Russian music in the Italia and Silver Violin collections from earlier in the 2010s. The Shostakovich Violin Concerto No. 1, Op. 99, is an emotionally thorny work in five movements anchored by a tense passacaglia in the middle. The composer withheld it from publication during the period of renewed Stalinist repression in the late 1940s. It was premiered in 1955 by David Oistrakh, and in endurance and elevated tone even if not quite in lyrical grandeur, Benedetti brings that master to mind. Sample the Stravinskian "Burlesque" finale for a sense of how Benedetti gets outside herself here. The Glazunov Violin Concerto, Op. 82, is a more stable work, rooted in pre-WWI conservatory traditions, and Benedetti's reading is nothing short of letter-perfect.

Recorded in 1969, this deluxe 2CD set comprises 3 albums by the critically acclaimed free jazz exponets.
Includes a photo-laden booklet with informative notes.
Originally comprised of saxophonists Roscoe Mitchell and Joseph Jarman, trumpeter Lester Bowie, bassist Malachi Favors, and later, drummer Famoudou Don Moye, the Art Ensemble of Chicago enjoy a critical reputation as the most influential avant-garde jazz ensemble of the 1970s and '80s. During the late '60s and early '70s, the Art Ensemble helped pioneer the fusion of jazz with European art music and indigenous African folk styles. They also combined music from sanctified church services, minstrel shows, and bawdy houses of late 19th and early 20th century America - with a modernist spirit and lively stage show that involved face paint and costumes as well as hundreds of musical instruments…

Secret Garden is Norwegian composer Rolf Loveland (piano, keyboards) and Irish violinist Fionnula Sherry. The album, however, offers much more than this duo; it is awash in orchestral strings (real ones), a choir (real one), and as many percussionists, harps, fiddles, keyboards, and whistles as are needed. Songs from a Secret Garden, a chart-topper in Europe, is unabashedly romantic, absolutely gorgeous. "Sigma," featuring boy soprano Rhonan Sugrue and the Irish National Choir, is very pensive, like dried flowers left, an expected return disappointed. The lyrics begin, "I search for the sign that will set my soul free." Although Celtic music fans will find many moments of bittersweet nostalgia between the violin, pipes, and pennywhistles, the album's closest musical relation might just be the intimate works of Maurice Ravel, particularly his "Pavanne for a Dead Princess"…

Super deluxe edition of "News Of The World" from Queen consists of 3 CDs, a DVD, and a LP. Disc 1 (original album) includes "All Dead, All Dead" featuring Freddie Mercury on vocal. *The original album version features Brian May. Disc 2 (raw sessions) consists of alternate takes, demo ones, and rough mix versions, including "We Are The Champions" with entirely different rendition and vocal from the previous recordings. Disc 3 includes 19 rare tracks, featuring live, BBC session, and instrumental. The package comes with a hardcover booklet, press kit, posters and more.