The only real problem with One Way Records' anthology on Katrina & the Waves is that it gives too much room to their first Capitol album (which ought to be out as a free-standing CD) and not enough to their later material. Anyone seeking to go further should track down this imported disc. Thanks to EMI's acquisition of the SBK label, for which the band recorded in 1989, and its merger with Virgin Records, for which the Waves recorded in the early '90s in Germany, this collection has a little range and depth, although it's still just a greatest-hits collection – if it were a best-of, it would also have to include some of their Attic Records sides from before their signing to Capitol. In addition to the eight songs off of the first Capitol album, there are four more off of Waves, including "Lovely Lindsey" (the one glaring gap in the One Way release).

The fourth, fifth, and sixth box sets dedicated to compiling all of Depeche Mode's single releases were put out in 2004, 13 years after the first three originally appeared. All of these sets provide a convenience for hardcore fans since they provide each single in its own slim jewel case. Needless to say, those who bought the original singles as they were released will be flustered once again. The sixth set, covering 1997 through 2001, includes the "Barrell of Gun," "It's No Good," "Home," "Useless," "Only When I Lose Myself," and "Dream On" singles. Remixes come from Dan the Automator, DJ Shadow, GusGus, Plastikman, Dave Clarke, Kid 606, Bushwacka!, and Kruder & Dorfmeister.

30-song set. Tour premieres of “Youngstown,” “Streets of Fire,” and “I’m Goin’ Down”. Four songs from 2020’s Letter To You: “Ghosts,” “Letter To You,” “Last Man Standing” and “I’ll See You In My Dreams.” “Last Man Standing” features a new arrangement. “I’ll See You In My Dreams” is performed solo acoustic to end the show. One song from 2022’s Only the Strong Survive: “Nightshift” (written by Franne Golde, Dennis Lambert and Walter Orange, popularized by The Commodores). Concert stalwarts like “Because The Night,” “Dancing in the Dark,” and “Tenth Avenue Freeze-Out” are performed in tighter, shorter versions. “Thunder Road” is the main-set closer.

Nyahh Records is proud and excited to announce this compilation of singers, which has been on the back boiler for some time!! Inspired by the song collecting of Alan Lomax, this compilation brings together two generations of singers from all across the island of Ireland. Some of the songs previously appear on albums, but the rest were recorded by the singer themselves on their phones to give the song a real and raw effect that brings an authentic feel and immediacy to the songs. A long standing tradition in Irish culture, singing has taken place in pubs and private homes all over the country since the 13th Century and has been away to share and keep the music alive, passing it down to younger generations. It is considered to be an aural tradition, as a lot of these songs would of not been written down. Nyahh is honoured to be able to present this collection of songs to you from some of Ireland’s best singers.

Every year Djabe & Steve Hackett impress jazz and progressive rock fans with more and more cohesive and powerful performances. The 2023 tour has once again delivered some surprises. The most attention-grabbing of these was the interpretation of the Genesis song Carpet Crawlers, sung fantastically by Péter Kaszás behind the drums. Listening to the whole concert, we feel that the parts are coming together more and more. The musicians and the songs from the repertoire of Djabe, Djabe & Steve Hackett, Genesis and Steve Hackett form an inseparable unit. The musicians perform Camino Royale, Ace Of Wands, Buzzy Island, Last Train To Istanbul and Los Endos with elemental power and energy. These are beautifully counterpointed by lyrical compositions such as Franciska, Horizons, Tale, Hairless Heart, Firth Of Fifth. And jazz fans will not be left unsatisfied either: in Could Have Been or Central European Time, the musicians of Djabe prove that they are without a doubt the leading musicians of the Hungarian jazz scene.

Corto.Alto is the brain-child of award-winning multi-instrumentalist, composer & producer Liam Shortall. Hailing from Glasgow, Scotland, this genre-defying producer brings together influences from Hip-Hop, Broken Beat, Electronica, Dub and Punk with an informed Jazz sensibility.

With Frames, Antoine Karacostas delivers an album of seven compositions and an arrangement of rebetiko, the band's signature sound. In this opus, he drew his inspiration from painting and pictorial as well as musical impressionism, from French composers such as Emmanuel Chabrier. This album is also a reflection on the notion of framework, both the one we find ourselves in and the one we wish to go beyond, in our personal quest for freedom.

This collection of music for guitar, brought together by Jose Luis Bieito as the musical element of his music+image binomis, Reflections, possesses a delightful balance of sounds. These are flowing, pulsing, mostly gentle sounds that tend to soothe and calm the listener's mind. Sounds that - through a variety of compositional techniques - tend to be sustained in time; the effects of which can sometimes capture a listener’s attention, holding it inside an extended musical moment, like a spell. When heard while viewing the accompanying (provocative, sometimes disturbing) images, the sounds can serve an additional function: grounding the listener's reaction, enabling the passage of emotion; like electricity discharging through a lightening rod.

Most of the titles on this album are derived from Thelonious Monk's vast catalog of bop standards. Both co-leaders are at the peak of their respective prowess with insightful interpretations of nearly half a dozen inspired performances from this incarnation of the Blakey-led Jazz Messengers. This combo features Art Blakey (drums), Johnny Griffin (tenor sax), Bill Hardman (trumpet), and Spanky Debrest (bass). Immediately, Hardman ups the ante with a piledriving lead during "Evidence" that underscores the heavy-hitting nature of this particular jazz confab. Monk counters with some powerful and inspired runs that are sonically splintered by the enthusiastic – if not practically percussive – chord progressions and highly logistic phrasings from the pianist. The inherent melodic buoyancy on "In Walked Bud" contains a springboard-like quality, with Griffin matching Monk's bounce measure for measure.

Roger Waters' tours of the U.S. during the summers of 1999 and 2000 were a pleasant surprise, since the reclusive rocker had not toured since 1987. In his liner notes to this two-CD set drawn from those performances, Waters does not shy away from discussing his antipathy to big concert venues. But he makes a distinction between stadiums and arenas, and he also notes that he found himself becoming more comfortable in the role of a frontman. This more personable Roger Waters isn't what comes across on the album, but the closer relationship he perceives to his audience is nevertheless palpable. As the man who wrote Pink Floyd's lyrics, he is far more concerned with their meaning than his old bandmates, and his singing is emphasized without robbing the music of its magisterial power. In fact, with a band boasting several guitarists to make up for the lack of David Gilmour, Waters effectively re-creates the sound of his Pink Floyd work, which dominates the set list…

Building on the bandmembers' own personal accomplishments that came from the Rockin' Into the Night album, .38 Special released an even stronger bunch of songs a year later with Wild-Eyed Southern Boys. Focusing on the same Southern-based rock & roll formula, the efforts from Southern Boys contain a little more guitar zing while complementing the band's ability to produce marketable radio music. "Hold on Loosely," with its smooth vocal stride, managed to peak at number 27 in April of 1981, giving .38 Special its first Top 40 single, and the title track, "Honky Tonk Dancer," and "Back Alley Sally" keep a homespun flavor alive and well, indicating that the band's Southern roots haven't been dismissed completely.

Recorded in October 2007, just over half a month after the release of her hits collection Crystal Visions, The Soundstage Sessions finds Stevie Nicks running through her hits – both solo and Fleetwood Mac tunes – in front of a small studio audience. This performance, which was also released simultaneously as a DVD, is suitably intimate and respectful of Nicks' original recordings, right down to how "Stand Back" and "If Anyone Falls in Love" are slathered in synthesizers that overwhelm the otherwise subdued arrangements.

Looking On is the third album by The Move, released in the UK in December 1970. The LP is their first to feature Jeff Lynne, their first containing entirely original compositions. It includes both their 1970 singles, the Top 10 hit "Brontosaurus," released on Regal Zonophone in March, and the less successful "When Alice Comes Back To The Farm," released on Fly in October. Looking On is generally regarded as the hardest rocking, least popular and most eclectic album in the Move's catalogue, as it presents the band dabbling in heavy metal ("Brontosaurus"), blues ("When Alice Comes Back to the Farm", "Turkish Tram Conductor Blues"), prog-style epics ("Open Up Said the World at the Door"), soul ("Feel Too Good"), or, in the case of the title track, all four styles mashed together.