Quincy's Home Again is an album by Quincy Jones with performances by Harry Arnold's Orchestra. The album was recorded in Sweden in 1958 and released by Metronome label. The album was also released in the U.S. as Harry Arnold + Big Band + Quincy Jones = Jazz! by EmArcy. AllMusic gave the album four stars, calling it "an excellent effort featuring a hard-swinging Swedish band that deserved to be better known in the U.S".

Box Set includes Exclusive Mini Book, Photo Prints, Poster & Deluxe CD. Revival is the second solo studio album by American singer Selena Gomez. It was released on October 9, 2015, by Interscope and Polydor Records as a follow-up to Stars Dance (2013). It is her first album released under her new recording contract with the labels, after completing her contractual obligations with previous label, Hollywood Records, with the compilation album For You and the single "The Heart Wants What It Wants", in 2014. Gomez has cited artists such as Janet Jackson and Christina Aguilera as influences on the record, a pop and electronic dance music album with a tropical beach sound. Lyrically, the album discusses themes of love, heartbreak, and confidence. The album also features a guest appearance from American rapper ASAP Rocky and collaborations with producers such as Rock Mafia, Hit-Boy and Stargate. Revival received generally positive reviews from critics, who appreciated its overall production and Gomez's vocals.

When Eraserhead premiered in 1977, it didn’t just mark the beginning of David Lynch’s singular career—it rewired the language of underground cinema. A nightmarish journey through industrial decay, existential dread, and fractured identity, the film remains one of the most haunting works ever committed to celluloid. Shot in stark black and white, Eraserhead unfolds like a fever dream—where sound, space, and emotion bleed into one another in an uncanny, hypnotic dance. But what truly sets Eraserhead apart, even beyond its disquieting visuals, is its sound. David Lynch, working closely with sound designer and technician Alan Splet, constructed an aural landscape as vital and disturbing as any of the film’s images. The soundtrack is not built around traditional music, but rather an evolving tapestry of ambient industrial noise: distant hums, howling winds, metallic drones, mechanical grinding, and eerie silences that stretch time to its breaking point. Splet and Lynch manipulated everyday sounds—recording radiators, engines, air currents—to create a dense sonic fog that reflects the inner turbulence of the protagonist, Henry Spencer, and the collapsing world around him.

Deluxe three CD + Blu-ray edition. The album was originally recorded in 1979 with sessions taking place for an intended follow up album by Bill's recently formed group RED NOISE. However, EMI Records, Bill's then record label, declined to release the recordings and the material remained unreleased. Four recordings appeared as the 'Do You Dream in Colour' EP on his Cocteau label in 1980. The following year Bill licensed the original stereo mixes of the album to Mercury Records who issued the album in the Spring of 1981. A ground-breaking record, 'QUIT DREAMING AND GET ON THE BEAM' reached a peak of number seven on the UK charts and is to date Bill's most commercially successful album. This limited and expanded edition boxed set features a newly remastered version of the original album mix, but also features an additional 53 tracks drawn from new stereo & 5.1 Surround Sound mixes by Stephen W Tayler of all the surviving recording sessions from 1979, along with a previously unreleased radio session from March 1981, a BBC JOHN PEEL session from June 1981 and a collection of rare single tracks from the era.

André Rieu and Johann Strauss Orchestra featuring Michel Tirabosco, Michel Tirabosco, André Rieu and Johann Strauss Orchestra featuring Micaëla Oeste, Micaëla Oeste, André Rieu and Johann Strauss Orchestra featuring Anna Majchrzak and Micaëla Oeste, Anna Majchrzak, André Rieu and Johann Strauss Orchestra featuring Tanja Derwahl, Tanja Derwahl, André Rieu, Johann Strauss Orchestra and The Vrijthof Brass Players featuring Micaëla Oeste, André Rieu, Johann Strauss Orchestra and The Platin Tenors featuring Madieke Schoots, Anna Majchrzak and Micaëla Oeste, Madieke Schoots

Werner Müller, who took over as director of the RIAS TANZORCHESTER in Berlin in 1949 at the age of just under 30, got the whole of Germany swinging and boogie dancing! Hardly any other orchestra rocked as hard as this team. This double album features no fewer than 24 hits for dancing and swinging! An absolute must for every dance orchestra fan!

This is another absolute gem, in which Herve Niquet and his ensemble, Le Concert Spirituel, show sparkling variety. (Classic CD)

Expressing his own cultural identity, guitarist Thibaut Garcia combines Rodrigo's archetypally Spanish Concierto de Aranjuez with a declaration of l'esprit français: Alexandre Tansman's neoclassical Musique de cour, inspired by the court of Louis XIV. Garcia's heritage is Spanish, but he is French, born in the city of Toulouse, where this album was recorded with the Orchestre National du Capitole de Toulouse and the young British conductor Ben Glassberg. It is completed by four solo pieces by Regino Sáinz de la Maza, the guitarist who gave the premiere of the Concierto de Aranjuez in 1940.

Originally released in 1966, Bernard Haitink's vivid recording of Gustav Mahler's Symphony No. 3 in D minor is coupled here with a 1973 performance of Das klagende Lied; since these are among the least performed and least familiar works in Mahler's catalog, the pairing is mutually beneficial to each, and listeners who have neither in their collections would do well to consider snapping up this affordable set. Perhaps the only flaw should be mentioned up front: though virtually no tape hiss is audible, there is a bit of an acoustic "vacuum" around the sound of the musicians, suggesting that the analog masters have been cleaned up a bit too efficiently and some resonance seems lost.

Giovanni Antonini, virtuoso flautist and orchestral conductor, is the founder of the Italian ensemble Il Giardino Armonico, which burst on the baroque musical scene in 1985; together they have amassed an impressive discography.
With Antonini as soloist in a programme of his own devising recorded between 2011 and 2017, a generous bouquet of the Concerti per Flauto: RV 433 (‘La Tempesta di Mare’), plus the Concertos RV 441, 442 443, 444, and 445, and an amazing version of ‘Cum Dederit’, a solo from Nisi Dominus RV 608, for the chalumeau, the predecessor to the modern-day clarinet.

Three years on from their acclaimed debut album, Ash In Realms of Stone Icons, Atlanta, GA progressive blackened metal band Tómarúm return with Beyond Obsidian Euphoria on April 4 via Prosthetic Records. Following extensive North American touring since 2022, Tómarúm’s sophomore full-length in the next chapter in the group’s ever-evolving search for inner meaning, strength and peace. Where Ash in Realms of Stone Icons served as a prologue in the band’s continuing narrative thread, Beyond Obsidian Euphoria marks the beginning proper of Tómarúm’s story. Thematically a concept album that follows immediately after the events of their first fulllength, Beyond Obsidian Euphoria finds Tómarúm reaching out from the depths of depression and despair for transcendence and triumph on the other side of woe…

Live in Amsterdam is the first live album by Candy Dulfer and contains prior hits such as "Sax-a-go-go," "Lily Was Here" and "Dance 'till You Bop," and new songs such as "Synchrodestiny." The album features David A. Stewart, Hans Dulfer and Angie Stone as special guests. The album peaked at #27 in the Dutch album charts.

Fans of Asia can celebrate with the release of this live album from bassist John Wetton, who recorded it during a tour of Japan. During the course of the seventeen tracks here, he covers a number of Asia tracks (starting with an acoustic version of "Heat of the Moment") along with material from his King Crimson and UK days. On the whole, it's okay, recorded fairly well and played professionally; the vocals are often mixed too far back, and some of the effects on the instruments (particularly acoustic guitars) are a little drastic even for this kind of music, but these are relatively minor things. It isn't a particularly compelling album, however – Wetton goes through the paces, and nobody flubs their part, but nothing stays once the album is done: even the King Crimson material didn't generate much interest (in fact, "Easy Money" is performed in such a way that it's close to annoying).

The Mars Volta are continual contenders for the mantle of most experimental high-profile rock group, along with System of a Down, an artist they've toured with but who usually sell 20 times more records. Mars Volta aren't as popular, not because their riffs are less memorable or innovative but because their cycle of musical buildup and release, although similarly jarring, can last at least 20 minutes instead of System's two. (It's the difference between having a background in acid rock and having one in thrash.) While the early reports on third album Amputechture commented that the duo of Cedric Bixler-Zavala and Omar Rodriguez-Lopez had learned a few lessons about silence and forsaken the concept album, don't believe it…

Wardance shows many of the attributes associated to symphonic rock, from a surrealistic record cover and detailed information about what amplifiers and cymbals the band uses, to song titles like "Star Maiden/Mysterioso/Quasar." But even though Colosseum II had much in common with symphonic rock, they were more of a jazz-rock or fusion band. While none of the musicians are anything even close to restrictive in their playing, Moore's solo guitar is what many of the songs are built up around. His distinctive way of playing, while still in development, is clearly heard, as are similarities to his first solo album Grinding Stone, especially in the album's only vocal song, "Castles." This was the second album released by Colosseum II in 1977, and their third in two years.