UK box-set compiles, for the first time, all the British vocalist's single (A & B-sides), rarities, CD debuts, & 19 previously unreleased tracks. The 64-page booklet is lavishly illustrated with photographs & memorabilia from Sandie's own archive. EMI. 2004. Nothing Comes Easy Review by Bruce Eder
Four CDs and 101 songs may seem like more Sandie Shaw than most listeners would want to own, much less hear – that's what this reviewer thought, until he started going song by song through this set, and damned if there was not one song in this collection, covering her complete single A- and B-sides from 1964 through 1988, that wasn't worth hearing. Indeed, there are revelations throughout, starting with the superb sound and the use of proper first-generation masters on everything here, and the digital production to back it up with a warm, rich sound that's quietly intoxicating and seductive. The evolution of Shaw's style and approach to singing is so gradual that it catches you unaware when she shifts from one style to another – her 1980s sides may be far removed from the British Invasion sides in style, but you hardly notice the incremental moves, from being surrounded by electric rhythm guitars to accompanied by synthesized drums, and she's pretty powerful in either mode. The sound is amazingly crisp throughout, making up for a multitude of sins evident in past compilations of Shaw's work. The fourth disc is made up of rare tracks that, for a change, can be taken as simply more good music by the casual listener, as much as savored by the true fan. The accompanying booklet would also make a pretty good core for a serious hardcover book on Shaw.

Four vignettes on the lives of the Cuban people in the pre-revolutionary era. In Havana, Maria is ashamed when a man she loves discovers how she makes a living. Pedro, an old farmer, discovers that the land he cultivates is being sold to an American company. A student sees his friends attacked by the police while they distribute leaflets supporting Fidel Castro. Finally, a peasant family is threatened by Batista's army.

Released for the occasion of Johnny Cash's 78th birthday, American VI: Ain't No Grave is the final installment in the collaboration between Cash and Rick Rubin that began with 1994’s American Recordings. These ten songs were cut during the same sessions for American V: A Hundred Highways. Guitarists Mike Campbell, Matt Sweeney, Smokey Hormel, and Benmont Tench on keyboards were present, as were other musicians. June Carter Cash died during routine surgery during these sessions. Cash, though grief stricken and with full knowledge that he too was dying due to complications from Parkinson’s disease, worked as often as his health would allow.

Entre formidable appétit pour la vie, amour de la nature, et mélancolie profonde, Jim harrison se livre dans une passionnante autobiographie.

Electric Mud is the fifth studio album by Muddy Waters, with Rotary Connection serving as his backing band. Released in 1968, it imagines Muddy Waters as a psychedelic musician. Producer Marshall Chess suggested that Muddy Waters record experimental, psychedelic blues tracks with members of Rotary Connection in an attempt to revive the blues singer's career. The album peaked at #127 on the Billboard Pop Albums chart. It was controversial for its fusion of electric blues with psychedelic elements, but was influential on psychedelic rock bands of the era.

This extravagant six-CD set documents the astonishing life span of the first pop independent label in the U.K., Immediate Records. Founded in 1965, Immediate flipped, flopped, and staggered its own way, competing against unhip American labels like EMI and Decca until late 1969. The label, and the documentary CD set, showcases in particular the Small Faces, who enjoyed a brief U.K. number one hit, Ogden's Nut Gone Flake. More familiar to American listeners will no doubt be the three-chord sock-hop favorite "Hang on Sloopy" by the McCoys, and a number of covers of familiar American folk-rock hits are present as well. The esoteric collector will appreciate inclusions by such café balladeers as the Poets and Les Fleurs-de-Lis, also signed by Immediate before the advent of the swinging London sound, marked by the Rolling Stones revolution and other mod developers influencing the pants off the tiniest studio cover bands. Immediate also helped sculpt the success of anguished bellower Chris Farlowe, soon to be joined by the similarly throaty vibrato of PP Arnold and, of course, manager/producer Andrew Oldham's best toss of the dice, the Small Faces, whom he ripped away from Decca. By the fourth disc, you are, in fact, in the throes of swinging London, featuring Farlowe's heart-stopping "Yesterday's Papers" and Arnold's "The First Cut Is the Deepest," written by the much-in-demand Cat Stevens. Most of the music is minimal and often out of tune, production at an early-time low, replete with tinny echoes and accidental outtake moments.

Brothers Dan and Neil Hammond return to Texas after the Civil War. Ambitious Dan turns to rustling and then shady land deals to build an empire. Being held for a murder, he is rescued from a lynch mob by Neil, who is now the Marshal, but there is eventually a falling out between the brothers, good triumphing over evil.

À l'aide de documents privés inédits et d'archives du MI5, Ben Macintyre retrace brillamment l'histoire vraie, et paradoxalement totalement fictive, de la plus grande supercherie de la Seconde Guerre mondiale.

Beth, Calvin, and their son Conrad are living in the aftermath of the death of the other son. Conrad is overcome by grief and misplaced guilt to the extent of a suicide attempt. He is in therapy. Beth had always preferred his brother and is having difficulty being supportive to Conrad. Calvin is trapped between the two trying to hold the family together.

Recorded live at Landsdowne Park Stadium Ottawa, Canada 9.9.1987.