This is a recording of a concert at Barrell's Ale House, Berwick-upon-Tweed, 15th August 2003. Michael Chapman playing acoustic in a atmospheric location in a club in front of a wall of blue note jazz posters. The gig features many of Michael Chapmans best loved songs including 'Shuffleboat River Farewell', 'One Time Thing' and 'Kodak Ghosts'. Michael Chapman is an English singer-songwriter and guitarist. Chapman originally began playing guitar with jazz bands, mainly in his home town of Leeds in The West Riding of Yorkshire. He became well known in the folk clubs of the late 1960s, as well as on the 'progressive' music scene, and has recorded over 40 albums to date. In 2016 Chapman celebrated 50 years as a professional musician. He still plays professionally and regularly tours in the UK, Europe and US.

An antipodean cosmic space music odyssey from 1966 to now! Featuring Russell Morris, Tame Impala, Cybotron, Sons of the Vegetal Mother and more. After two years of extensive crate-digging and foraging, UK psychedelic DJ duo the Amorphous Androgynous return with the latest installment in their award winning series 'A Monstrous Psychedelic Bubble (Exploding In Your Mind) - The Wizards Of Oz'. As the title suggests, 'The Wizards Of Oz' is devoted exclusively to the rich heritage of cosmic space music from Australia and New Zealand. In keeping with previous volumes of this acclaimed series, it traces the lineage from the sixties to the present day, re-appraising the meaning of the term 'psychedelic' along the way, The tracks are expertly woven and mashed together to form a trip as enjoyable as it is both enlightening and educational.

The Comsat Angels were an English post-punk band from Sheffield, England, initially active from 1978 to 1995. Their music has been described as "abstract pop songs with sparse instrumentation, many of which were bleak and filled with some form of heartache". They have been credited as being an influence on later post-punk revival bands such as Blacklist, Bell Hollow, Editors and Interpol. The Comsat Angels toured heavily in the UK and western Europe, especially in the Netherlands; the band's two concerts in August 1982 in Iceland had a strong influence on the music scene in Reykjavík. They also toured the United States twice. Their music has been extensively reissued and recompiled since 1995 by various record labels.

Since the release of their last album, 2014's Four, One Direction went from five members to four with the departure of Zayn Malik, but not much else has changed. Working with their longtime production team of Julian Bunetta and John Ryan, Made in the A.M. is another slice of high-quality modern pop brought to life by the band's charm. They mostly stick to the formula that got them to the top of the charts, but throw in a couple of surprises that keep things interesting. The album's mix of upbeat dance-pop songs, emotional midtempo songs, and big, gut-wrenching ballads is a familiar one, with songs like "Drag Me Down" and "Infinity" sounding genetically engineered for radio play.

Sing-Übung is the name given by Michael Massong to his debut recital on MDG, and the title contains a program: lyrical pieces, in large part especially arranged for this CD, display a vocal quality of trombone playing that is without its equal. The selection of works also holds some surprises in store: Rachmaninov's famous "Vocalise," the fine emotion of Carl Maria von Weber's "Romanze," and Franz Liszt's Romance oubliée," in which Michael Massong teases previously unheard-of vocal expressive depth out of his instrument. The prizewinning horn player Premysl Vojta performs the duo part in "Singübung," the title work by Franz Schubert, and in the four duets by Johannes Brahms.

Amid the never ending list of available recordings of Bach's organ works, it's nice to see a new SACD being released that brings all of his brilliant Toccatas together on one disc. These works, which capture a snapshot of Bach letting his hair down, showcase the essence of the composer at his best. Highly spirited music, brimming with expressive freedom bordering on the ecstatic. Organist Christoph Schoener certainly perceives these elements within the music and delivers up-tempo, animated and exuberant readings of all the pieces that call for it. The highlight for me on this disc is the account of the Toccata in F, BWV 540. A brilliant work, even by Bach's standards, with outstanding harmonic development throughout, underpinned by solid and long-sustained pedal notes upon which Bach constructed cathedrals of sound.

Robert Schumann knew his way around the piano like hardly any other composer. During his constant quest for new sound, it must have been a real experience for him and his wife Clara when a pedal – as on an organ – was added to their grand piano. The Amsterdam Piano Duo has set out to relive this revelation on this recording of the Studien für den Pedalflügel on an Erard grand piano from 1837 in a version for piano four hands by Georges Bizet.

No one can denies that The Doors is one of the essentials bands in the history of rock. With tons of charisma (let's not forget that -at the time- Jim Morrison was referred by the press as "the american Mick Jagger"), a very personal sound and with an incredible catalog, The Doors have become not only a key band of the genre, but also a source of inspiration for countless artists. In this triple album, 'The Many Faces Of The Doors' we get into the secret world of the band, with hard-to-find tracks, side projects by its members, remakes and also, their roots. With a great cover art, a selection of songs that took a couple of years of work to secure, a remastered sound and liner notes, The Many Faces Of The Doors is a unique album, which is already being praised by many fans of the band.

In this new recording, Missa Credo for soprano, saxophone and piano is conducted by the composer, Ulrich Zeitler. The work combines Gregorian melodies from the medieval church with contemporary jazz to make a fascinating fusion of styles on this hybrid SACD. For Ulrich Zeitler the Credo is a program: this deeply felt, very personal profession of faith forms the foundation in this composition. Very much in the tradition of the earliest church music, Zeitler avails himself of the “perfect division”: each metrical unit can be divided into three subunits, as a symbol of the perfection of God, of unity in three persons. The ever-present pedal point d underscores this unity,and, whether intentionally or not, the whole Credo attains a length of 333 measures!

Born on the island of Rügen off Germany’s Baltic coast, Joachim Nikolas Eggert arrived in Sweden in 1803, soon establishing himself as a progressive conductor and introducing Beethoven to Stockholm audiences. Welcomed overwhelmingly on its première, Eggert’s large-scale FirstSymphony hints at Mozart and Haydn but foreshadows Mendelssohn in its wind textures and rich harmonies. The Third Symphony is kaleidoscopic in its moments of light and shade and unusual in its gigantic fugal finale. First of a two-volume set, these two symphonies alone demonstrate that Eggert should be considered one of the more important composers of his era.