The Christmas easy-listening album by Paul Mauriat and His Orchestra, originally released in 1967, with bonus tracks released in 1971, 1977 and 1978 on the Philips label, together on one CD and remastered from the original analogue stereo tapes for Vocalion's trademark crystal-clear sound.

Six CD set. The year 1965 suffered an unexpected detour in pop culture: starting the explosion of psychedelia and the influence of Bob Dylan's poetry, rock, as an aesthetic movement, wanted to earn the recognition that genres such as jazz or classical music had. Due to this, many virtuoso performers and complex arrangements and improvisation were incorporated to rock's catalog. That's how psychedelic rock and then progressive rock came to be. Meanwhile in Germany, and influenced by both the English rock and by German avant-garde artists such as Karlheinz Stockhausen, a new way of understand rock music was born, with poetry inspired by outer space and a remarkable use of electronics and experimentation. This musical movement was dubbed by British press as krautrock. The Krautrock And Progressive Rock Box is the definitive album that illustrates both these cultural moments, with a range of artists that never before were compiled together. The Krautrock and Progressive Box is a work of unusual magnitude that will delight not only those experts in the genres, but any fan of rock music.

Decca signed an exclusive contract with the Wiener Oktett (Vienna Octet) in the summer of 1948 as a commercially motivated move: a sweetener to the deal that also poached the Philharmonic Orchestra from EMI. The ensemble had been formed only a year or so previously around the Boskovsky brothers, violinist Willi and clarinetist Alfred. Soon enough, audiences at home as well as in concert were enjoying the sound of a quintessentially Viennese ensemble, it's members drawn from the ranks of the Philharmonic, in Classical-era music that could have been written for them, starting with the Septet by Beethoven and the Octet by Schubert. The sweet, silvery tone of the Octet and the easy give-and-go of it's phrasing established the Octet as the latest in a line of distinguished Viennese chamber ensembles, from the Rosé Quartet of Mahler's era to the Barylli Quartet documented by the Westminster label.

Nico's second solo album, 1968's 'The Marble Index', has long been out of print. This reissue includes audio mastered from the original tapes and previously unreleased photos of Nico by Guy Webster. Nico's haunting vocals predicted the Gothic movement and co-producer and Velvet Underground's band mate John Cale's startingly modern classical production ensured 'The Marble Index's timeless appeal. The iconic music journalist Lester Bangs wrote, “The Marble Index is the greatest piece of 'avant-garde classical', 'serious' music of the last half of the 20th century so far,” and the New Yorker recently hailed both records as “austere miracles of will and invention.”

This 2-CD single-layer SACD compilation album contains 22 tracks selected from the titles that have been produced as single-layer SACDs from Deutsche Grammophon's analog period recordings as a Japanese original project. DISC1 contains symphonies and orchestral pieces. DISC2 contains concertos, chamber music, instrumental music, and vocal music from a wide range of classical music genres. Available for the price of one SACD. Celebrating Deutsche Grammophon's 125th anniversary.

Fans of STEELY DAN and TOTO will be surprised and delighted at the same time. Magnificent AOR / YACHT ROCK from Aschaffenburg, Germany! With the stunning LP release “Natures Melody”, Tramp Records honors Aschaffenburg’s “People” after almost 45 years. The reason why no one has really taken an interest in them so far may be because the original Vinyl records are anything but rare. For the ‘people’ behind Tramp Records, this is absolutely insignificant, it's simply the music what counts. And the songs are so extraordinary that we are proud to set up a special monument to the band with this album.

Wir Lieben Bacharach! – or We Love Bacharach! – is a particular treat. With 18 tracks recorded between 1965 and 1973, it contains the songs that are the crème of the crop of the Bacharach and David ouevre: “Close to You,” “I Say a Little Prayer,” “A House is Not a Home.” But listening to this compilation, you might know those tunes as “So wie ich,” “Ich wunsche mir so viel von dir” and “Ein Haus ist kein Zuhaus” as performed by Karel Gott, Bata Illic and Corry Brokken, respectively! But in addition to the familiar classics, there are rare German renditions of “The Green Grass Starts to Grow,” “Hasbrook Heights,” “Paper Mache” and “The Wine is Young,” too, all favorites of Bacharach diehards including yours truly. Some arrangements hew closely to the originals (Gus Backus’ “Hallo, Pussycat” – you can guess the English title!) while others offer unique re-interpretations (Die Caravelles’ “In Gedanken bin ich bei dir,” or “True Love Never Runs Smooth”). For those who understand German, the translations are often far from literal, so that adds another dimension to these recordings. The booklet has full-color reproductions of sixteen original LP and single sleeves, plus discographical information and liner notes – in German, of course! (review by Joe Marchese)

Two CD collection. ECHOES OF GERMANY is the ideal introduction to German popular music of the 1950s and early 1960s, with occasional forays into the 1930s and 1940s to offer a full array of swing, easy listening, musical theatre, schlager and Rock 'n' Roll. ECHOES OF GERMANY presents great performances by such legends as Marlene Dietrich, Lotte Lenya, Peter Alexander, Bert Kaempfert, Peter Kraus and Ted Herold, but casts it's net wide to include a handful of non-native performers who sang in German.

Berlin 61 / 89 / Wall Of Sound is not an ordinary compilation. It is closer to a concept album, referring both to a chapterin history and a musical assemblage which resounds like a continental echo to Phil Spector? s Wall of Sound.
Dangerous, sublime, incandescent, fuelled by a vivid mythology in which Nick Cave, David Bowie, Lou Reed, and Brian Eno meet, Berlin is an artistic city par excellence, a place of all extremes. During those three decades marked by the Wall, in which she was a world metropolis because American and French as much as German, Russian and English, Berlin established herself as the capital of an « other rock », as important and everlasting as the one which was born in the middle of the previous century, somewhere in the south of the U.S.A.

100 Eurosong Klassiekers is a various artist compilation album. Released in 2010 on Universal.

Four-part double CD series - comprehensive and first cross-label documentation of the only relevant German contribution to the international phenomenon of rock music.

Kraut! Demons! Kraut!: German Psychedelic Underground 1968-1974 Review by Richie Unterberger
This is the kind of compilation you can expect to flourish as the realization comes to pass that several types of special-interest rock cults will not be catered to by the CD explosion. There's no label or catalog number on it, but if you're in a big city or hip college town with a record store oriented toward specialty collectors, you might be able to find it. What we're dealing with here is rare Krautrock, some taken from private pressings that reached only into the three figures. None of these artists will be familiar, even to those who listen to college radio stations willing to play vintage Krautrock, with the exception of Can (represented by a 1969 single, on one side of which the band backed Margareta Juvan). This is actually more accessible than the more widely known, progressive rock-oriented style of Krautrock's salad days, as it bears a heavier influence of late 1960s psychedelia.

Neu! release a brand new boxset marking the 50th anniversary of their first record. The vinyl and CD boxes come with the band’s first three albums (and, for the CD box, Neu! ’86), plus a new tribute album plus stencil and booklet. The tribute album features reworks from The National, Idles, Alexis Taylor (Hot Chip), Mogwai, Fink, Stephen Morris (New Order) and more.Neu!’s influence is undeniable. Klaus Dinger and Michael Rother, who had both previously been members of Kraftwerk, are a product not only of West Germany but of Düsseldorf. Like other experimental bands of the late 60s and early 70s gathered under the banner of Krautrock, they were driven by a mixture of political and artistic imperatives to reject the cliches and conventions of orthodox, blues-based Anglo-American rock and create a music that was, formally, West German in origin..

Filmed just two days after the tragic death of guitarist Brian Jones, some 250,000 fans flocked to Hyde Park, London, on a pilgrimage to see the group described as ""the greatest rock'n'roll band in the world"" The Rolling Stones…

From the minds behind the two volumes of Funky Fräuleins, Beat Fräuleins winds the clock back slightly further, focusing on the mid-'60s and a parade of solo German females with a variety of arrangements – most of them pretty sophisticated for the '60s. Whether the performers are pursuing the prevalent beat sound, indulging in a Motown pastiche or two, snarling like garage rockers, or covering Western hits (Sonny & Cher's "The Beat Goes On," the Hollies' "Bus Stop," and the Supremes' "Stop! In the Name of Love" receive the Germanic treatment), all of these tracks are worth the unearthing.