Arctic Monkeys are an English rock band formed in 2002 in High Green, a suburb of Sheffield. The band consists of Alex Turner (lead vocals, rhythm/lead guitar), Matt Helders (drums, vocals), Jamie Cook (lead/rhythm guitar) and Nick O'Malley (bass, backing vocals). They have released five studio albums: Whatever People Say I Am, That's What I'm Not (2006), Favourite Worst Nightmare (2007), Humbug (2009), Suck It and See (2011) and AM (2013). Their debut album is the fastest-selling debut album by a band in British chart history, and in 2013, Rolling Stone ranked it the 30th-greatest debut album of all time. The band has won six Brit Awards – winning both Best British Group and Best British Album three times, and have been nominated for three Grammy Awards.

Mercury Records was founded in 1945 and originally only signed black artists. By 1962, the year of our compilation, they had recruited a host of new artists of all hues which made Mercury the dominant force in jazz, blues, rock 'n' roll and pop in the US. These artists included Little Richard, Dolly Parton, George Jones, Jivin' Gene, Clyde McPhatter, Charles Aznavour, Quincy Jones, Patti Page, Ray Stevens and many more.

This disc forms part of our ongoing Spanish Music series with the BBC Philharmonic under its Chief Conductor, Juanjo Mena. Here the focus is on the orchestral music of Joaquín Turina, one of the two leading Spanish composers of the twentieth century, the other being Manual de Falla. Turina was a prolific composer who in his sixty-seven years wrote more than 100 works across a wide range of classical genres. Turina lived in Paris from 1905 to 1914 whilst taking lessons from d’Indy and getting to know Ravel and Debussy. The Danzas fantásticas and Sinfonía sevillana are both influenced by the sights and sounds of Turina’s native Seville but also by aspects of French impressionism. Poema en forma de canciones is probably the best-known work, originally for voice and piano. The other works are Ritmos (Rhythms), originally a ballet score, brilliantly effective in the concert hall, and Saeta en forma de Salve a la Virgen de la Esperanza, a beautifully written devotional song. In this as well as in the Poema and in ‘Farruca’, from Triptico, the orchestra is joined by the Spanish mezzo Clara Mouriz.

Tim Maia is the 1972 album by Brazilian artist Tim Maia. Many of his albums were titled after his name and sometimes the records were just given the date of the year of release so t his could be either titled Tim Maia or 1972. This comes from the first CD pressing released in 1993 by Polydor.

Purists might tell you that the golden age of Bubblegum Pop occurred strictly between 1967 and 1972, but in reality its scope was far wider. Foreshadowed by the shimmering girl-pop of the early to mid 60s and followed by the novelty chart hits of the 70s and 80s, Bubblegum can be seen in almost all great pop music from the last 60 years. This 3CD set brings together many of its highlights, from The Archies Sugar Sugar to Bucks Fizz s Making Your Mind Up . You might call these hits disposable, but just try getting them out of your head!

#8 is a 1983 album by J. J. Cale. It was his eighth since his debut in 1972. Twelve years and eight albums into his recording career, Cale's approach has changed little, and here is another collection of groove tunes that act as platforms for the artist's intricate guitar playing. He is sometimes accompanied by a female vocalist, co-writer Christine Lakeland.

MARIA CALLAS is regarded as one of the greatest divas of all time, whose recordings are standards by which all subsequent performances are judged. The 10-CDs of Live Recordings capture her on some of the greatest nights of her career and contain an interview by American Opera commentator Edward Downes. This recital performance are an invaluable addition to Callas s recorded legacy and show yet another side of this unique diva, whose vocal achievements stand unrivalled today and probably for all time. The eye-catching clamshell box are a collectors delight.

In this double CD, the third for Leo Records, the original process of instant composing conceived by Scoolptures is powered by graphic scores obtained from the works of the street artist Banksy. His intimate and sharp stencils, motions of a suffering humanity, are transformed into the sound matrices of these 24 compositions. Nicola Negrini (doublebass, ubass, metallophone and live electronics), Achille Succi (alto sax, bass clarinet and shakuhachi), Philippe "Pipon" Garcia (drums, prepared guitar and live electronics) and Antonio Della Marina (sinewaves and live electronics) mold the sound into a pulsating, urban, tense or ecstatic conglomerate, densely fluid and dynamic, which are a sound equivalent of Banksy's stencils.

For a few years in the early '80s, Willie Nile had "next big thing" written all over him; at a time when the music biz was moving from its search for the "new Dylan" to the "new Springsteen," Nile had the look and the smart wordplay of the former along with the rocker's instincts and blazing passion of the latter, and he seemed destined for the big time. Nile made three albums before (two for Arista, one for Columbia) before the major-league recording industry decided they didn't know what to do with him after all, which seems to have been a matter of poor marketing rather than the quality of his work. Nile's three major-label albums have all been out of print since the late '90s, but the British Acadia label has given them a new lease on life with The Arista Columbia Recordings 1980-1991, a two-CD set that features the 32 songs from 1980's Willie Nile, 1981's Golden Down, and 1991's Places I Have Never Been, all in their original sequence.

As he preps his fourth album, Eric Church pays tribute to the time-honored tradition of releasing a live album while the iron is hot. And so there's Caught in the Act: Live, a 17-track set recorded at the Tivoli Theatre in Chattanooga, Tennessee as he supported his career-making 2011 record Chief. In concert, Church is brawnier than he is in the studio – witness "Creepin," where such subtle production tricks as backward guitars are stripped away so it just barrels by on drums and guitars – but this isn't a bad thing, as macho swagger is integral to his appeal.

Florida native Donna Allen rose to fame following the release of her debut album Perfect Timing on New York based 21 Records in 1986. A born performer, Donna Allen was a cheerleader for the Tampa Bay Buccaneers before becoming a successful singer. Donna got her start in the music business performing with bands Hi-Octane and Trama before the launch of her successful solo career. Donna Allen also toured for 9 years as a backup singer with Gloria Estefan & Miami Sound Machine. 1986 brought the release of Perfect Timing, produced by Lou Pace; arranger behind Miami Sound Machine s international hit Dr. Beat.

This 2013 collection from venerable, German metal outfit Accept, led by the inimitable Udo Dirkschneider begins, appropriately, with their biggest hit, 1984's "Balls to the Wall," a true heavy metal anthem. Despite having an impressive track record of material that extends well into the 21st century, the remaining tracks on Playlist: The Very Best of Accept are all culled from the group's golden age, with highlights coming from live staples like "Fast as a Shark," "London Leatherboys," "Metal Heart," and "Restless and Wild."

Here for the first time are the integral Sylvie Vartan RCA albums, from between 1962 and 1986, in Deluxe Vinyl Replica. You could find 41 CD with 716 tracks (including 171 Bonus Tracks & 32 unreleased tracks). Deluxe Vinyl Replicas by Culture Factory constitute high quality reissued compact-discs which reproduce all the components of the original LPs and are their exact replicas in compact-disc size (5.3 x 5.3 inches), with authentic single or gatefold cardboard jackets and paper sleeves. In addition to the above, each compact-disc Deluxe Vinyl Replica includes a black finish CD complete with the original label to give it the look and feel of the original record album.

J.J. Cale drifts toward a more pop approach on this album, starting with the lead-off track, "City Girls," which could almost but not quite be a hit single. The usual blues and country shuffle approach is in effect, but Audie Ashworth's production is unusually sharp, the playing has more bite than usual, and Cale, whose vocals are for the most part up in the mix, sounds more engaged. It's not clear, however, that this is an improvement over his usual laidback approach, and, in any case, it shouldn't be over-emphasized – this is still a J.J. Cale album, with its cantering tempos and single-note guitar runs. It's just that, when you have a style as defined as Cale's, little movements in style loom larger.

Wayne has re-signed to Blue Note Records, and has released his first album as a leader for the iconic label in 43 years with the release of Without A Net, a searing new album with his long-running quartet featuring pianist Danilo Perez, bassist John Patitucci, and drummer Brian Blade.
Without A Net is a 9-track musical thrill ride that consists of live recordings from the Wayne Shorter Quartet’s European tour in late 2011, the one exception being the 23-minute tone poem “Pegasus” which features the quartet with The Imani Winds recorded at Walt Disney Concert Hall in Los Angeles. The album features six new Shorter compositions, as well as new versions of his tunes “Orbits” (from Miles Davis’ Miles Smiles album) and “Plaza Real” (from the Weather Report album Procession).