Autohoje From 14 Janeiro 2016

Phil Collins certainly has enough hits to fill out a double-disc compilation – in the U.K. he had 25 Top 40 singles and he reached the Billboard Top 40 21 times in the U.S., with many of them overlapping – but the 2016 set The Singles doesn't march through these hits in chronological order. Opening with "Easy Lover," his 1985 duet with Earth, Wind & Fire's Philip Bailey, this 33-track compilation happily hopscotches through the years. Such non-chronological sequencing does mean certain hits are saved for the greatest emotional impact – naturally, "Take Me Home" closes out the proceedings – but it also focuses attention on songs that weren't blockbusters, whether it's such meditative turn-of-the-'90s adult contemporary hits as "That's Just the Way It Is" or the brooding early single "Thru These Walls."

John Holt - 4000 Volts Of Holt: The Classic Albums Collection (2016) {2 CD Set Trojan Records TJDCD547 rec 1974-1976}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 999 Mb | MP3 @320 -> 359 Mb
Full Artwork @ 300 dpi (jpg) -> 79 Mb | 5% repair rar
© 1974-76, 2016 Trojan Records / BMG / Sanctuary Records | TJDCD547
Reggae / Reggae Pop / Smooth Reggae / Rocksteady

In 1972, one of Jamaica's most popular and successful singers, John Holt, teamed up with British-born record producer, Tony Ashfield to create a style of reggae aimed at appealing to music listeners of all ages and colours throughout the world. By combining Jamaican rhythms with sophisticated western arrangements, the pair succeeded in their aim, producing an album that exceeded all expectations. ‘The Further You Look’ set the standard for what later became widely known as ‘pop reggae’ and quickly became a must-have album for a broad spectrum of record buyers, selling in vast numbers amongst both black and white communities.

Relive the flower power era with Ultimate… 60s a 4CD collection containing 80 classic hits from the 60s, includes tracks by Elvis, The Ronnettes, Simon & Garfunkel and many more!

Like Mick Jagger before him, Steven Tyler itched to launch a solo career, but where Mick struck while the iron was relatively hot – 20 years after "Satisfaction," true, yet the Rolling Stones still packed arenas – the Aerosmith singer took the better part of a decade to figure out what he wanted to do on his own. Stumbling through a starring gig on American Idol and an accompanying flop single that led to an awkward 2012 reunion with Aerosmith, Tyler finally resurfaced as a country singer – a surprise, because the closest he ever came to country was the Desmond Child co-write "What It Takes," a power ballad that provides a good touchstone for 2016's We're All Somebody from Somewhere.

The Second Volume of Leonard Bernsteins complete recorded legacy on Deutsche Grammophon: an original jackets collection in an LP-size box with deluxe book, taking in some of his most famous and celebrated recordings. The set comprises Bernsteins complete recordings of composers from Mahler (19 CDs) to Wagner. Includes all of Bernsteins recordings of Mendelssohn, Mozart, Puccini, Schubert, Schumann, Shostakovich, Sibelius, Strauss, Stravinsky and Tchaikovsky. This repertoire is supplemented by the five American Decca CDs, with performances and analyses of Beethovens Erocia, Schumanns Second, Dvoraks New World, Brahmss Fourth and Tchaikovskys Pathetique.

Composer Michael William Balfe composed 29 operas, and around 250 other pieces. He is best known for his opera The Bohemian Girl. Balfe’s opera Satanella was his 23rd opera, and was premiered at Covent Garden in 1858. The work is a hybrid of classical opera tradition and stand-alone songs. This release is performed by the John Powell Singers and the Victorian Opera Orchestra under the direction of Richard Bonynge.

For longtime fans of genre-bending jazz piano trio the Bad Plus, 2016's It's Hard will feel pleasantly familiar. Once again showcasing the talents of pianist Ethan Iverson, bassist Reid Anderson, and drummer David King, It's Hard finds the Bad Plus reworking a set of well-curated pop covers. In that sense, the album fits nicely next to the group's previous covers albums, all of which helped build their reputation as a maverick, forward-thinking outfit unafraid to recontextualize both modern pop songs and traditional acoustic jazz. Particularly effective here is the trio's languid, impressionistic take on Crowded House's "Don't Dream It's Over."