Standing In The Breach, Jackson's fourteenth studio album, is a collection of ten songs, at turns deeply personal and political, exploring love, hope, and defiance in the face of the advancing uncertainties of modern life.

'Hold Out', Browne’s first album of the new decade is considered one of his minor efforts. This album was his immediate followup to Running On Empty (1977) and it was released around turning points in both the singer-songwriter’s personal life and his career. It was an album that discussed his brand new marriage (which unfortunately failed quickly) several years after the suicide of his first wife. It was also the last one with the same band he had used for most of his career. His main sideman, David Lindley, would never again be a permanent member of his group although the two would remain great friends and continue to work together often throughout the years. Also, to many in the critics circle, Hold Out began the rocker’s artistic slide even though he would retain his popularity with fans for a few more years.

Throughout the ‘80s, Jackson Browne’s political conscience began dominating his songwriting. With 1989’s World in Motion, it hit its peak. The title track condemns the ever-widening gap between rich and poor and the way that advertising creates want and need. Browne matches his lyrics with a nightclub blues lick and arrangement heavy on the ‘80s synths. “How Long” is another swampy blues; it asks how society will take care of humanity while defense spending skyrockets beyond anyone’s dreams.

Jackson Browne's messages had always seemed so important that one tended to overlook the sheer songwriting craft that went into his work, craft that was apparent, for example, on his 1982 single "Somebody's Baby," which became his biggest hit ever (and which appears on none of his albums, only being available on the soundtrack to Fast Times at Ridgemont High), and on songs like "Downtown," a street-life portrait on his seventh album, Lawyers in Love.

Fueled by the momentum generated from two landmark 2017 group efforts – the Wingfield-Reuter-Stavi-Sirkis quartet's magical ""The Stone House,"" and the leaned down Wingfield-Reuter-Sirkus trio effort, the potent ""Lighthouse"" (both critically acclaimed works of extraordinary creativity and vision) – Mark Wingfield's sophomore effort for MoonJune Records launches into the cosmos, from the space station where his stellar MJR debut, 2015's ""Proof of Light,"" docked! Rejoined by the sublime rhythmic engine of Yaron Stavi, on fretless bass, and supreme drummer, Asaf Sirkis, the innovative guitar impressionist carries his unprecedented expansion of the electric guitar's sonic palette of sound and expression into further uncharted dimensions. The session is augmented by a guest appearance from fellow MoonJune artist, keyboardist Dominic Vantomme, whose tasty synth work decorates four selections.

Laurel Halo’s new cut provides a meditative and cinematic listening experience: Inspired by her recent work with Dutch design studio Metahaven – for which she scored the film ‘Possessed‘, ‘Raw Silk Uncut Wood‘ also draws its roots from the work of late writer and poet Ursula K. Le Guin, with the record title directly referencing her translation of millennial old Chinese text Tao Te Ching and this particular quote: “What works reliably is to know the raw silk, hold the uncut wood. Need little. Want less. Forget the rules. Be untroubled.”

Riding the momentum of 2016's groundbreaking, critically heralded release, "Pasar Klewer" – an album awarded a 5-star review by Downbeat, All About Jazz, and numerous others – MoonJune Records is proud to present the phenomenal new album by the iconic keyboardist, composer and producer, Dwiki Dharmawan. Drawing from both his extensive jazz influences and his rich cultural heritage, the Indonesian maestro delivers yet another spellbinding masterwork!

Sarah Lois Vaughan was an American jazz singer. She has been described by music critic Scott Yanow as having "one of the most wondrous voices of the 20th century". Nicknamed "Sassy" and "The Divine One", Vaughan was a four-time Grammy Award winner, including a "Lifetime Achievement Award". The National Endowment for the Arts bestowed upon her its "highest honor in jazz", the NEA Jazz Masters Award, in 1989. Recordings of Sarah Vaughan were inducted into the Grammy Hall of Fame, which is a special Grammy award established in 1973 to honor recordings that are at least twenty-five years old, and have "qualitative or historical significance".

The only album ever cut by Norma Jenkins – a New Jersey singer with a surprisingly great ear for a deep soul groove! Norma's got a sound that's richer than most of her east coast contemporaries – a really robust approach that's almost more like some of the best southern soul singers of the period, and captured beautifully here, in ways that make us wonder why she never recorded more albums after this. The set's put together by producer George Kerr, right in the middle of a rich run of work for other artists in the 70s – and arrangements are by Bert Keyes and Andrew Smith – balancing equally between midtempo groovers, and some mellow tracks that are especially great.

The keyboard works of Giacomo Gotifredo Ferrari (1763-1842) represent a synthesis of the styles circulating around Europe (not excluding the UK) at the turn of the 19th century. The sonatas on this album, from his Opp. 9, 10 and 12 collections, reveal both his admiration for Mozart and his own tendencies towards Classicism, in dialogue with the French galant style, with the melodic traits of the Italian operatic style, and with the virtuosic formulae of the innovative piano music associated with Muzio Clementi. The six Balletti are more modest in scale and probably intended for domestic use by amateurs. On the other hand, the Caprice Op.8 undoubtedly addresses the power and dynamic range of the new piano, with an innovative, unresolved conclusion on the dominant.

Chinese electroc pop act releases her new album. Hiapop Blog’s Unarmed Bandit reviews for Louder Than War. I have had very little exposure to the music coming out of China but if Dingwei is the benchmark, I’ll be finding out a bit more. Her music falls into the electro category, underpinned by some gorgeous classical overtones. Once you add in a voice that transfixes you, the result is amazing.

In 1966 Little Richard signed to OKeh Records who teamed him up with Larry Williams in an attempt to reposition Little Richard as a mainstream soul proposition. The first single, Poor Dog, featuring Johnny 'Guitar' Watson, and its follow up, The Commandments Of Love, lived up to their hopes, updating his musical sound and putting him back in the R&B Top 50. A third US single, I Don't Want To Discuss It, later covered by Delaney And Bonnie and Rod Stewart, was less successful as Little Richard was touring in the UK when it came out.

The Happy Time (1968) is one of those Broadway musical flops that looks like a surefire winner on paper. It was mounted by the legendary producer David Merrick. It was based on Samuel Taylor's successful 1950 Broadway play, which in turn was based on Robert L. Fontaine's novel about a boy coming of age in Canada. The director/choreographer was veteran Gower Champion. An instrumental album containing most songs from the score performed by the Orch. '70, conducted by Joe Reisman, was released by RCA Victor Broadway in 1968. All songs were substantially re-orchestrated for this recording.

Scottish pop-soul perfectionists The Blue Nile (Paul Buchanan, Robert Bell and Paul Joseph Moore) present a remastered version of their 1996 album Peace At Last on the Virgin EMI label via Universal Music. Formed after graduating from Glasgow University in the early 1980's by guitarist Paul Buchanan, bassist Robert Bell and keyboard player Paul Joseph Moore, The Blue Nile have released four albums — A Walk Across The Rooftops (1984), Hats (1989), Peace At Last (1996) and High (2004). Peace At Last has been digitally remastered by Paul Buchanan and Robert Bell working alongside the original The Blue Nile engineer Calum Malcolm.

New Devices is the 3rd album from Leeds based trio and Mercury Prize nominees Roller Trio. A unique trio, their sound is modern and gritty, pushing sonic boundaries to their limits. Switching the feel of a tune in a heartbeat from edgy improv to anthemic power riffs to reverb-swamped note storms, Roller Trio are powerful and progressive. For this album, the line-up includes Chris Sharkey, a guitarist at the cutting-edge of contemporary guitar improv, alongside James Mainwaring, saxophone & electronics and Luke Reddin-Williams, drums. Their mix of high octane technicality and deceptively catchy tunes has transcended their Jazz heritage, bringing them acclaim from fans and critics alike.