Chumbawamba First 2 (1986 & 1987)

Cendres de Lune is the debut album by the French singer/songwriter Mylene Farmer, released on April 1, 1986. The album was precedeed by the hit single "Libertine", and the album was rereleased in 1987 preceded by the song "Tristana". This album, which was Farmer's sole one written and composed by Laurent Boutonnat, achieved a moderate success in France in comparison with the next albums of the singer, but helped launch the career of this one.

1987 German 18-track compilation CD album featuring his greatest songs includes three lives tracks plus two bonus tracks. Fold-out picture sleeve including family tree.

Although it isn't billed as such, this is a compilation of some of the best tracks from Bland's first two '80s albums for Malaco fleshed out with remakes of some of his most famous late-'50s and early-'60s hits. Of the latter, the standouts are probably "Two Steps From the Blues" and "St. James Infirmary." Bland can't quite hit the high notes the way he once did, but his voice is still attractive and his phrasing is, if anything, even better. The more recent material ranges from "Members Only," with its great retro-60s soul groove, to the straight-ahead blues of "Straight From the Shoulder."

During the mid-19th century, the Danish composer Niels. W. Gade was one of Europe's most well-known composers, conducting his own works all over the continent. Starting out as a protégé of Mendelssohn's, he later became his successor as music director of the famous Leipzig Gewandhaus Orchestra, and made the acquaintance of Robert and Clara Schumann, and of Liszt and Wagner. Initially known as a composer of symphonies, Gade mastered the German musical idiom to perfection, while adding a Nordic accent to it, particularly noticeable in his best works. His eight symphonies were composed between 1841 and 1871, and although Gade remained active as a composer until his death in 1890, he wrote no more symphonies. When questioned, he is said to have stated that 'there is but one Ninth Symphony!'

This is the best available modern recording of Dvorák’s three gorgeous Slavonic Rhapsodies, music that’s totally neglected in the concert hall and nearly so on recordings (at least by major names). The dark timbre of the Leipzig orchestra, with strings dominating, isn’t exactly ideal for Dvorák. However, in the rhapsodies at least, the playing is so lovely and Masur’s direction so musical and alert that it would be churlish to quibble further.