A new EP featuring four previously unreleased tracks via Reprise Records. Three of the tracks, "North Side Star," "Blue Walsh," and "Cold Dark Place," were recorded during the sessions for Mastodon's 2014 album Once More ‘Round The Sunand were produced by Nick Raskulinecz. A fourth track, "Toe to Toes," was recorded during the sessions for the band's most recent album, 2016's Emperor of Sand, and was produced by Brendan O'Brien.

"V“ is the fifth album from The Horrors and their first new release in three years. The new album shows the group at the peak of their powers, exhibiting a freedom and sense of exploration that feels truly liberating. Recorded in London with producer Paul Epworth (fka twigs, Lorde, Rihanna, Adele), 'V' is the sound of the band making the most expansive and progressive music of their careers.

Sounding at times like a more laid-back G. Love (without the rap tendencies), Johnson celebrates the simple pleasures and asks the big questions with the childlike innocence that only someone living in a literal paradise could muster. 'Banana Pancakes' is a Harry Nilsson-like groover that urges listeners to skip work and enjoy themselves every so often, while 'Good People' decries the age of reality television with a poignancy reminiscent of Donovan at his free-spirited best. Perhaps the track that most accurately encapsulates Johnson's unique less-is-more approach, however, is 'Belle,' a jazzy ditty that clocks in at less than two minutes and lets a swooning accordion tell the bulk of the story.

His first album was also expected that its content will surprise. After several EP with strong and assertive beats, Gabriel Legeleux aka Superpoze enters the arena with a hovering record and we can not dream. At only 23 years old, the caterer Caennais here shows a bluffing maturity by superimposing (without bad pun on words) the tablecloths, sources of invitation to travel. We find ourselves lost in translation, swimming in an urban melancholy where melody and harmonies are highly respected. Superpoze impresses because despite certain cernable influences (Jon Hopkins, Brian Eno …), he imposes a sound, a rhythmic identity of his own.

Cornell 5/8/77 was recorded live directly from the soundboards by Betty Cantor-Jackson. After several years the master tapes were seemingly lost for good, but that all changed at the end of 2016. The lost tapes, or lost “Betty boards” as they are commonly known, finally made their way back home to the Grateful Dead vault, making it possible to officially bring the world this legendary show just in time for its 40th Anniversary. The complete live show has been Plangentized by Plangent Processes and remastered by GRAMMY ® award winning sound engineer, Jeffrey Norman.

Singer Clarence Carter exemplified the gritty, earthy sound of Muscle Shoals R&B, fusing the devastating poignancy of the blues with a wicked, lascivious wit to create deeply soulful music rooted in the American South of the past and the present. Born January 14, 1936, in Montgomery, AL, Carter was blind from birth. He immediately gravitated to music, teaching himself guitar by listening to the blues classics of John Lee Hooker, Lightnin' Hopkins, and Jimmy Reed. He majored in music at Alabama State University, learning to transcribe charts and arrangements in Braille. On this compilation "The Best Of Clarence Carter" are collected 12 of the best tracks from Clarence Carter. Of course, they are much more than 12 tracks, but the Rhino Atlantic label offers us such a choice of this wonderful artist.

Lana Cantrell is one of those mysteries of the 60's. An over-the-top belter who could compete with the best of them. After Barbra Streisand hit in 1963, each record company had to have their belter. A young quirky singer who would bust the tubes out of your new amplifier. Somewhere squeezed between Laine Kazan and Diahann Carroll was Lana Cantrell. Lana with her six RCA albums, but no hits. Lana one of the many reachers of fame in a entertainment world changing so fast that even the best and biggest of the stars were faltering. Lana! Was she just a little behind the times, or perhaps too far ahead? We suggest you to follow the original album entitled "And Then There Was Lana", which was released in 1967.

The apex of Luther Vandross’ collaboration with producer and bassist Marcus Miller, Vandross’ third album Busy Body positively leaps out of the speakers with the synthetic stabs of opener I Wanted Your Love. One of his best dancefloor numbers, it is probably the only example in Vandross’ solo catalogue of him sounding at the cutting edge, with its New York club swagger.

This album, reflecting the love affair Pinchas Zukerman has had with English music since the late 1960s, contains the most beloved violin pieces by Edward Elgar and Ralph Vaughan Williams, the towering figures of the English musical renaissance. Salut d’amour was immensely popular from the beginning but made Elgar virtually no money. The Lark Ascending had to wait until after Vaughan Williams’s death to become renowned throughout the English-speaking world.

The nation’s favorite violinist, Nicola Benedetti, celebrates a huge year for Scotland with an album of its most famous and best loved music, featuring songs such as Loch Lomond, My Love is Like a Red Red Rose and more. The album also includes collaborations with leading Scottish folk musicians including well-known folk singer Julie Fowlis whose voice can be heard on the Disney/Pixar hit film, Brave, along with Bruch’s much loved Scottish Fantasy.

It was in these terms that Ferruccio Busoni greeted the publication in 1908 of the 14 Bagatelles, in which Béla Bartók conveyed the violent aesthetic impact of his discovery of authentic Hungarian peasant music. Over the next 20 years, up to the magisterial Sonata of 1926, he indefatigably refined an innovative pianistic language: pungent, dissonant, percussive, with multiple new playing techniques, that was to influence the entire 20th century. A master of every style, from Haydn to Boulez by way of Chopin and Chabrier, Alain Planès stands revealed here as a Bartókian of the front rank.

For black pop music, this is an exhilarating, unsettling time. Never before have so many black performers been so successful in the world of mainstream pop. Not only have such sure bets as Lionel Richie and Whitney Houston scored big, but there have also been breakthroughs by such wild cards as Run-D.M.C., Sade and Anita Baker acts that would have had difficulty cracking even the black Top Ten a few years back. The pop charts may be hype heaven, but for many black acts, they're the promised land. After Thriller and Purple Rain, making the journey to pop stardom has been easier, and the rewards (ask Whitney Houston and Janet Jackson) have gone through the roof. But when black artists trim their sound to catch the prevailing wind and sail off for the mainstream without a backward glance, they leave behind a residue of distrust and anger.

Red have brought back the Nu-metal sound of old, similar to Linkin Park's Hybrid Theory, this album is full of agression and melody amidst some damn good song writing. Every song here is a potential single, so its no wonder that 2 years after its release, they are still riding the wave of success of this album in the states, but not so much here in UK, because this kind of music is not "in" anymore, its all about the emo/indie bands these days, which is a shame cause the lyrics on an album like this are more hard-hitting and passionate than anything i've heard on the radio today. style.

Interesting stuff! We've got to admit, we don't know if this material was legitimately recorded and/or released against Al's wishes – but the album's a nice one, perhaps some of the best soul material you'll ever find by Jarreau! The record features Al covering Bill Withers tunes from the early days, and it's got a very similar feel to Withers' best work on Sussex – from which it draws heavily, on songs like "Kissing My Love", "Grandma's Hands", "Use Me", "Lonely Town, Lonely Street", "Lean On Me", "Ain't No Sunshine", "You", and "The Same Love That Made Me Laugh". In fact, the arrangements almost seem to be the same as those on the Withers' recordings – with the real difference being Jarreau's vocals, slightly smoother, and a bit more on the jazzy tip.