Organist Art Neville formed a band in 1966 in New Orleans with his brothers Aaron and Charles on vocals, Leo Nocentelli on guitar, George Porter on bass, and Joseph “Zigaboo” Modeliste on drums. Billing themselves as Art Neville & the Sounds, they signed to Sansu Enterprises, a label founded by Marshall Sehorn and writer, producer, arranger, and recording artist Allen Toussaint, and minus the vocalists, and now called the Meters, they became the house band for the label, providing backing tracks for releases by Lee Dorsey, Earl King, Betty Harris, and many others, including many cuts by Toussaint himself. The Meters would also track instrumentals that were used as filler tracks on LP releases by Sansu artists, and in time, there were enough of these instrumentals to release an LP in 1969 called the Meters, which Sehorn shrewdly placed with Josie Records because of that label’s connection to its parent company, Cosnat Distributors, at that time the largest East Coast music distributor. The Meters were something special, and their swampy precision practically defined the meaning and template of funk. Two more LPs, Look-Ka Py Py and Struttin’, appeared a year later in 1970 on the Josie imprint. When Josie went bankrupt in 1971, the Meters moved on to sign with Reprise Records and continued to release thundering funk records through the decade before gradually morphing into the more vocal-oriented group the Neville Brothers. This two-disc set collects the Meters' entire Josie catalog, including all three LPs, the A- and B-sides of four singles, four tracks billed to Art Neville & the Meters, and two tracks attributed to Cyril Neville & the Meters. The end result is a joyous and impressively funky survey of this stellar and professional band’s earliest recordings.

The Return of the Fabulous Hofner Bluenotes is the twenty-second studio album by British singer-songwriter Chris Rea, released in 2008 by his own record label, Jazzee Blue. It comprises three CDs and double 10" Vinyl records in an 80-page hardback book. It is the second album of his project, the Hofner Blue Notes (2003). The project narrates the history of The Delmonts, an imaginary guitar instrumental band from the late 1950s, who in early 1960s evolved into blues band The Hofner Bluenotes. It also gives a brief history of the Hofner guitar, and its importance in the development of music in Britain. The music was recorded by Rea (guitars), Colin Hodgkinson (bass) and Martin Ditcham (drums), who feature in the book, together with Niel Drinkwater and Robert Ahwai.

You can’t say A without saying B: pianist Marcel Worms took up the challenge, to record the second book after his double album with the complete first book of Bach's Well-Tempered Clavier (2020). Bach completed the second book twenty years after the first, and in those two decades his composing has deepened even further. The Preludes have emancipated and are sometimes longer than the accompanying Fugues, the complexity of the music has increased, and the work as a whole is more abstract and spiritual. Add to that the length of the work (about half an hour longer than book I) and the assignment for the pianist is clear.

The only surviving version of Carlo Gesualdo’s First Book of Madrigals was printed in Spring 1594 by the typographer Vincenzo Baldini. At the time, the composer was twenty-eight years old and had just left behind the murder of his wife, in 1590. In this first publication Gesualdo probably collected pieces composed earlier than 1591. The music is written by a young author, far away from the better-known experimental composer of later years, yet is clear and faultless, and often very effective.

Napoleon was intensely enthusiastic about opera. The conquering music lover called for the young Italian star, the contralto Giuseppina Grassini, and the most magnificent castrato: Girolamo Crescentini to perform for him. He was the only singer to move the Emperor to tears. Crescentini was invited to France from 1806 to 1812. He sang at glorious evening performances at the Tuileries Imperial Chapel with Grassini, named First Cantatrice to His Majesty the Emperor – and his mistress. Napoleon had an incredible passion for Italian opera, as shown by the 143 Italian soloist concerts given at the Court between 1810 and 1815! Zingarelli’s Giulietta e Romeo opera was a major performance given by Grassini and Crescentini.

Redefining an 80s generation of disillusioned youth caused by Britain’s inane ability to rid itself of the poverty and turmoil of the era, The Smiths were the neo-intellectual person’s answer to the dullness surrounding them. As is so often the case, the sum of The Smiths parts was always less than the whole, the group’s influence on modern rock music incalculable, their unique sound echoing through the strains of countless indie success stories and untold hopefuls alike. The Smiths provided a guitar-based alternative to the synth-pop sounds of so many other early 80s UK bands, paving the way for the 90s Brit-pop explosion, and the Smiths' distinct LPs are still studied by millions of sensitive types all over the world. In this chapter of our The Many Faces series, we will explore The Smiths´ inner world, including their members’ projects, the post-punk scene from where the band emerged, their unparalleled repertoire and a fantastic early live performance of the band. With stellar artwork and remastered sound, The Smiths are the most recent addition to our The Many Faces Collection. And remember that this is not available on streaming platforms.

Does that high-pitched wail sound familiar? Well, odds are if you're reading this, you should know it. For Vinnie's second album, good ol' Mark Slaughter (who would soon – with Invasion bassist Dana Strum – form the even more successful and creatively named hair metal band Slaughter) takes over vocals from the departed Robert Fleischman, and while his high-pitched wails are a bit hard to take, his vocals give this record a bit more consistency than the debut. Outside of that it's kinda just more of the same. Unfortunate for Mr. Vincent given his obvious talents, this sort of "metal" that somehow thrived from 1985-1990 (or so) wasn't the type of rock that was open to too much experimentation. So what you get here is a pretty run-of-the-mill hair rock album: rockers, ballads, solos, etc.

Yusuf/Cat Stevens celebrates 1971's landmark album with this extensive Super Deluxe 4CD/Blu-ray Box Set. It includes the 50th Anniversary remaster of the original album on CD and Blu-ray HD Audio completed at Abbey Road Studios and overseen by the original album producer, Paul Samwell-Smith. Also included are 41 previously unreleased demos, sessions, and live tracks, plus 21 previously unreleased TV performances, and an illustrated 108-page softcover essay book.

Double CD collection of the best Tangerine Dream had to offer during the years of 1980 and 1987 - a time their fans call "The Blue Years".

François Dieupart is an intriguing composer of the early 18th century and a pioneer of the repertoire, even before Couperin and Rameau, a precursor of the "Goûts Réunis" whose grace already heralded the Regency. Closely associated with the English court exiled in France, Dieupart travelled to England at the turn of the century where he stayed for three decades.
Drawing on French and Italian styles, his music remains eminently personal, full of delicacy and freshness of tone. First performed in 1702, his new style of music enjoyed a lasting success throughout Europe, even inspiring Bach: Marie van Rhijn reveals its secret enchantments.

Valery Gergiev is widely recognized as the greatest modern interpreter of Tchaikovsky's music and the Mariinsky Orchestra holds a peerless reputation in the repertoire. These acclaimed performances were filmed at Salle Pleyel in Paris during January 2010 and directed by Andy Sommer. The themes of fate and death pervade Tchaikovsky's final symphonies. The composition of the fourth symphony coincided with the breakdown of Tchaikovsky's marriage and a failed suicide attempt and the sixth symphony premiered shortly before Tchaikovsky's death. The disc includes a bonus interview of Maestro Gergiev directed by Tommy Pearson.

There are many great contemporary composers of our time but few write music that we can relate to so easily and closely as Nikolai Kapustin. His exquisite use of techniques and musical languages of classical and jazz ensures that his music appeals to a wide range of listeners. To those who love classical music but know little about jazz it does not sound too unfamiliar and vice versa. Indeed, it gives great pleasure to even the most untrained ears of either genre of music.

Johnny Cash was in the unenviable position of being a living legend who was beloved by fans of classic country music without being able to interest anyone in his most recent work when he was signed to Rick Rubin's American Recordings label in 1994…

What was the first composition ever written for solo violoncello? What was composed before Bach created his extraordinary suites for solo cello?