Afterbach Matinee

Two CD collection containing both of his cult classic electronic albums 'Emotional Disguise' (1982) and 'Correspondence' (1983). Plus all the spin-off singles and remixes from his time at Polydor, between 1981 and 1983, when he was one of the stylish lynchpins of the burgeoning New Wave / New Romantic scene! Mostly produced by Georg Kajanus from the bands Sailor and DATA, Peter's repertoire is synth- pop opulence, grandiose in scale and intent. Swoon in the melodic vastness, the majestic sweeps of lush, layered analogue synths. It is unmistakably ear-worm electronic pop, but with cinematic intimations of gloriously exotic other worlds. It presents, at times, as if an electronic travelogue of emotion fronted by the rich baritone of a suave matinée idol troubadour whose influences were unashamedly Moroder, Bowie and Ferry. It is arguably his highly sought after sensuous debut single, the Midge Ure produced 'Torch Songs For The Heroine', which has endured; the hidden gem of the 'Ballad Version' of which bristles with a redolence of Ultravox's 'Vienna' and it's landmark atmospheric, filmic, synth-pop sparseness. The release comes with a 28-page booklet containing both an introduction and comprehensive track-by-track listening notes written by Peter Godwin along with full lyrics and evocative period photographs.

Where, exactly, does Caroline Shaw fit in the scheme of things? Does the Pulitzer Prize-winning composer and musician fit at all, or is she the proverbial square peg forever languishing outside? An archetypal Nonesuch recording artist, on Rectangles and Circumstance Shaw doesn't so much straddle genre as vault over it, mixing high-concept, academy-trained ideas with serious percussion—eardrum-caressing bells, thumps, clangs, chords, melodies and sonic curios. "This" opens with a man's voice reciting the title word in time, driving the rhythm like a kickdrum while wisps of Shaw's breath suggest hi-hats.

Styx is the self-titled debut album by Styx. It was released in 1972 on Wooden Nickel Records. The album was reissued in 1980 under the title Styx I with new artwork.

This 60th Anniversary 60-CD Deluxe Edition celebrates RCA Victor's signing of Elvis Presley-The King of rock 'n' roll. Features all of the albums Elvis recorded and RCA released in his lifetime: studio, soundtrack, and live. It also includes compilations released that featured unreleased songs or songs new to the LP format.

The Complete Wooden Nickel Recordings is a 2-Disc set released by Styx in 2005. The compilation contains remastered versions Styx's first four albums, Styx, Styx II, The Serpent Is Rising, and Man of Miracles, which were released by Wooden Nickel Records. It also includes the rare outtake "Unfinished Song", which was previously released only on the 1980 RCA reissue of Man of Miracles, (which was entitled Miracles), replacing the song "Lies". The song "Lies" appeared on the second pressing of Man of Miracles, replacing "Best Thing" which was on the first printing of the Man of Miracles album. "Best Thing" was also on the first Styx album.

THE CLASSIC 1981 SHOW AT BOND INTERNATIONAL CASINO NYC • In support of their 1981 album Sandinista!, The Clash played a series of 17 concerts at Bonds International Casino in New York City in May and June 1981. Due to their wide publicity, the concerts became an important moment in the history of the band. Some of the nights were recorded for FM broadcast. • The site of the concerts was formerly Bonds department store which had been converted into a large second-floor hall. Promoters kept the name because there was a large Bonds sign on the outside of the building. As The Clash had not yet broken out into mass popularity in the US, eight shows were originally scheduled: 28, 29, 30, 31 May and 1, 2, 3 and 5 June 1981. However, given the venue's legal capacity limit of 1750, the series was blatantly oversold (3500) right from the first night, leading the New York City Fire Department to cancel the Saturday, 30 May performance.

Claudio Arrau A patrician artist whose matinee-idol appearance was as elegant as his playing, Claudio Arrau achieved a major reputation for his performances of Brahms and Liszt. Indeed, few Romantic-period composers, from Beethoven onward, were beyond his grasp. In addition to that repertory, his Debussy was regarded by many connoisseurs as exemplary. Arrau believed that his abiding interest in psychoanalysis aided him in probing the intent of those whose works he performed. Certainly, Arrau's performances were marked by a balance between heart and intellect. Arrau was born in Chillán, Chile, on February 6, 1903.