In 2000, David Coverdale was officially a full-time solo artist, but it wasn't like the former Whitesnake and Deep Purple vocalist had never recorded an album by himself – his first solo project, Northwinds, came out in the late '70s. Although not groundbreaking, 2000's Into the Light is a decent solo effort that should please those who admire his '70s and '80s output. In fact, this isn't a radical departure from the British singer's work with Whitesnake and Deep Purple. Instead of attempting to be relevant to the alternate rock scene of 2000, Coverdale sticks with the type of commercial hard rock, arena rock, and power ballads that he is best known for.

Lalo Schifrin - The Amityville Horror (1979) {Aleph Records 026 rel 2002}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 329 Mb | MP3 @320 -> 145 Mb
Full Artwork @ 300 dpi (jpg) -> 17 Mb | 5% repair rar
© 1979, 2002 Aleph Records | 026
Jazz / Classical / Jazz / Soundtrack / Stage & Screen

In the late 1970s, horror films were in the middle of a comeback. 1968's Rosemary's Baby helped start it; 1973's The Exorcist confirmed it. 1976 saw The Omen, and then in 1979, we got a film version of the bestselling novel, The Amityville Horror. Scoring the film was Lalo Schifrin, who had previously been hired to work on The Exorcist before his score was rejected. (Rumor has it that he worked elements of his rejected score into The Amityville Horror, although they sound nothing alike.) Previously released on 8-track and LP, Schifrin's score never got a full CD release until now, on his own Aleph Records.

Few bands of the era offered as much variety in material from night to night. King Crimson’s propensity for improvisation & fondness for playing its newest material – often unreleased on record at the time of the concerts - is legendary. Fewer bands still, whether by accident or design, recorded so many of their live shows…

Gil Evans - Tokyo Concert 1976 (2010) {Japan Studio Songs Remaster, YZSO-10013}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 203 Mb | MP3 @320 -> 84 Mb | Artwork | 5% repair rar
© 1976, 2010 Studio Songs Japan | YZSO-10033
Jazz / Progressive Jazz / Post Bop

Reissue release from Gil Evans featuring his performance at Nakano Sun Plaza Hall in Tokyo on May 24 and June 8, 1976. Remastered by Ryo Kawasaki. A typical Gil Evans set - none the worse for that - but a slightly short album at 34 minutes. This is the first official release approved by Gil's widow Anita Evans. Ryo Kawasaki, who appears as a soloist on this album, is being remastered.

We are proud to announce that the June 2021 issue of Uncut – in UK shops from April 15 – comes with one of the best free, covermounted CDs we’ve ever given away. To celebrate Bob Dylan's 80th birthday, 14 esteemed artists – including The Flaming Lips, Low, Richard Thompson, Courtney Marie Andrews, Cowboy Junkies and The Weather Station – have recorded brand new versions of classic Dylan songs exclusively for us. What's more, the CD also features a previously unreleased Dylan track! To reiterate – because we're still amazed about this ourselves – all these covers were recorded specifically for Uncut's free CD and are currently unavailable anywhere else.

The same, yet different. That’s Rão Kyao in 2021. Unalterable, due to the identity matrix of his singular art, perennial, as he is. Renewed, due to the existence of new elements adding to his unwavering sound. “Respeito Pela Natureza'' (Respect for Nature) was released as a single. Now, the entire album is available, entitled Gandhi, that manifests a man connected to the environment, spiritually connected, and a humanist able to recognize a futuristic legacy, global and pacifistic, of the Indian leader Mahatma Gandhi (1986-1948). There is also the man behind the music, the composer and flute player, using all his resources, offering music with a sense of duality as a whole, that is not only universal but also Portuguese.

Howard McGhee & Tal Farlow - Howard McGhee volume 2 & Tal Farlow Quartet (1998) {Blue Note 95748 rec 1953-1954}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 285 Mb | MP3 @320 -> 126 Mb
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© 1953-54, 1998 Blue Note / Capitol | 7243 4 95748 2 3
Jazz / Bop / Hard Bop / Trumpet / Guitar

Among the rarest Blue Note recordings are the ones issued in the early '50s on 10" LPs, a format that did not catch on (being quickly overshadowed by 12" LPs). Among the two albums that fell into the cracks were sessions by Howard McGhee (another CD has his initial Blue Note date) and Tal Farlow.

Founded in 1998 at Pro Corda, Suffolk, the multi-award-winning Doric String Quartet describes recording Brittens quartets as a significant milestone: In our recording we have endeavoured to tread a line that brings out the humanity in these works but also recognises the need for distance and fragility. This is very personal and intimate music, yet also world-encompassing and timeless. The Quartet continues: Another feature of this recording is that Hélène Clément, our violist, is playing on Benjamin Brittens own viola. This instrument (on loan from the Britten-Pears Foundation) was made in 1843 in Milan by Francesco Guissani. It was previously owned by the composer Frank Bridge who gave it to Britten, as a departure gift when Britten and Pears set sail for the USA in 1939. ​

John Cage - Bird Cage (2000) {Electronic Music Foundation EMF CD 013}
XLD rip (secure mode) | FLAC (tracks)+CUE+LOG -> 318 Mb | MP3 @320 -> 142 Mb
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© 2000 Electronic Music Foundation | EMF CD 013
Contemporary Classical / Electronic / Experimental / Avant-Garde

In 1972, John Cage, accompanied by a film crew from Germany, went to upstate New York to work for 3 days in the State University of New York at Albany's electronic music studio. He carried with him three piles of tapes: (1) sounds of birds in aviaries that he had made in the prior two weeks, (2) recordings of himself singing his 'Mureau', and (3) ambient sounds. While listening to tapes of himself singing Mureau, he commented, "It makes the birds seem less ridiculous." The result was 'Birdcage', a complex, exuberant, and joyful fabric of juxtapositions of all of the sounds, to be played back in a space in which, as Cage put it, people were free to move and birds to fly.

An audacious Boulezian cluster explodes at the beginning of Éléments, simphonie nouvelle, a wordless ballet composed in 1737 by Jean-Féry Rebel in memory of the opera-ballet Les Élements composed by André Cardinal Destouches and Michel Richard de Lalande whose performance was directed by Rebel at the Palais des Tuileries in 1721 when a young Louis XV danced on stage in imitation of his great-grandfather, the Sun King, Louis XIV. While it was declared boring by the eleven-year-old dancing king, the work was nonetheless replayed four times the following year and was the last court ballet in France. Revised by its authors, it became very popular throughout Louis XV’s reign.