This two-hour-plus compilation of the first five years of the history of John Mayall and his band the Bluesbreakers in their many permutations covers all the expected bases and then some. Eric Clapton, Peter Green, and Mick Taylor are all represented, but so are Bernie Watson and Roger Dean, both of whom preceded Clapton in the guitarist's spot in the band. What's more, they're not bad; they may not have been the assertive soloist that Clapton came to embody, but Dean plays a pretty hot solo on "Crocodile Walk," which was good enough to make the A-side of a single in 1965. Moreover, there was more to any of the Mayall bands than their guitarists, and Mayall's blues harmonica is showcased throughout, on tracks such as "Crawling Up a Hill" and "Blues City Shakedown."

In this recording of Bach’s Suite No. 1, John Eliot Gardiner follows Passepieds I and II with Bach’s own setting of the chorale Dir, dir, Jehova, will ich singen BWV 299. The joyous text celebrates praise and discipleship, prolonging the suite’s exuberant mood. No other recorded version features a vocal tailpiece, but if you don’t like it, simply program your player to skip track 8. It’s good to find both parts of the Overtures to these works repeated (Frans Brüggen omits second-section repeats), but at times Gardiner can seem too rugged and unyielding for what is, after all, ceremonial or occasional music.

Here's a bit of intrigue. The failure of Rachmaninov's First Symphony at its premiere in 1897 is habitually blamed on Glazunov's ineptitude as a conductor. But, by 1907 Rachmaninov had written his Second Symphony, whose instant and continuing success can be attributed to a pervasive melody of enormous emotional power. Why, then, did Glazunov incorporate a motif of striking similarity in the first movement of his 1911 Piano Concerto? Glazunov's tune is paler, less keenly felt, than Rachmaninov's, but is this a homage, an apology, or merely a coincidence? I found it so perplexing that the wistful variations in the second and final movement of the concerto passed by almost unnoticed. But there's not a lot to miss. While some of the harmonies have a smudgy, Broadway sensuality, the easy lyricism is frequently banal.

JOHN ELIOT GARDINER und ein junges Sängerensemble bezaubern den Hörer: Christiane Oelze ist eine betörend sympatische Pamina. So gestochen scharfe und dabei klangvolle Koloraturen wie von Cyndia Sieden habe ich so noch nicht gehört; eine Königin der Extraklasse! Auch Michael Schade als Tamino und Gerald Finley als Papageno bestechen mit ihren wohlkingenden und ausdrucksfähigen Stimmen.

After creating a classic with their second album, Blues for the Red Sun, desert metal gods Kyuss faced the unenviable task of delivering the goods once again for a new label, Elektra Records. And they almost pulled it off with 1994's stellar Welcome to Sky Valley. The album's 13 songs are divided into three "suites" which fully display the band's impressive creative range, from furious metal to psychedelic grooves, and anything in between. The first and most consistent of these suites starts with the huge guitar riff of "Gardenia" (which resembles molten lava flowing down the side of a volcano), continues into the moody space jam instrumental "Asteroid," and culminates in the strangely titled yet superbly diverse "Supa Scoopa and Mighty Scoop"…

Digitally remastered and expanded edition of Marc Almond's 11th solo album, Stranger Things (2001). Containing no less than 32 bonus tracks across discs two and three including original song demos, remixes, rarities, alternative versions and live renditions of Stranger Things album tracks recorded around the time of the album's sessions.

“This record being the third in a trilogy of song collections mostly based on film music I wrote for Spike Lee over the past few years, I wanted to move to some new stylistic places and maybe make a more upbeat record overall. We don’t get a ballad until #7, the pandemic shut-down era piece “Days Ahead” ( a duet with Danielle Haim). Lyrically the record is dotted with three Covid-related songs; the aforementioned, “Tag” and the album opener “Sidelines” (a duet with Ezra Koenig of Vampire Weekend), and otherwise ranges far afield with the world of science again a recurring influence (“Lidar” and “Point Omega”). The record also includes the first cover song I’ve ever put on a studio release, a total re-
imagining of Chuck Berry’s “Too Much Monkey Business.” The album title 'Flicted relates to this strange time in which we live, when the world is basically, well, ‘flicted!”

Peter Doherty and Frédéric Lo release their new album The Fantasy Life of Poetry and Crime through Strap Originals. The Fantasy Life of Poetry and Crime is another piece de resistance from this constantly evolving and challenging artist, showcasing Peter’s proudly European poetry and comment on la bete humaine married to Frederick’s delicious francophone musical arrangements.

Samuel Scheidt was one of the most interesting Lutheran composers of the early 17th century. Like his famous contemporary Heinrich Schütz, he combined the polyphonic tradition with the new styles from Italy. His Cantiones Sacrae for eight voices mark the summit of Renaissance musical style; even though Protestant chorales are integrated into the work, Scheidt does not hesitate to use expressive effects that originated in the Italian madrigal style.

What separated this from the average good Bill Evans date was the inclusion of Shelly Manne on drums, who inventively pushed and took unexpected chances. This was Eddie Gomez' (bass) debut release with Evans (piano) and it was quite impressive. There were numerous takes at this session and judging from Chuck Briefer's liners it might be interesting to hear them released.

Up Your Mind is the American debut by soul-blues singer/songwriter Ellis Hooks. Originally hailing from Mobile, AL, he was an itinerant musician, scrambling and scuffling across the globe, often as a busker. His debut album, Undeniable, garnered a slew of attention on the other side of the Atlantic and has afforded him the notoriety and critical acclaim to play the Montreux Jazz Festival and the esteemed Poretta Festival in Italy. Hooks resides in New York and is remaking music in his own image by using and fusing traditional elements from soul, rock, and the Mississippi Delta played in a direct, gritty manner. Hooks doesn't sift and he doesn't blend, he sculpts and shapes, leaving the rough grain on the surface to admire. Hooks and veteran producer Jon Tiven offer a streetwise, passion-filled toughness in their deep, sensual mix. Hooks has a voice that owes a great debt to Otis Redding first and Wilson Pickett second (who Tiven produced for many years), and an approach in his songwriting that is eclectic, knotty, and groove-solid.

The origins of Philip Glass' Voices, for didgeridoo and organ was specific: a commission from the city of Melbourne, Australia, in 2001. Yet the instrumental combination works so well that it seems almost foreordained, and Glass went on to write further music for the soloist here, Mark Atkins. In this performance, the didgeridoo and organ tracks were recorded separately, in Australia and upstate New York, respectively, and in Glass' metronomic world this works well enough. Yet one hopes that this release on Glass' Orange Mountain Music label is enough to spur future live performances with both players in the same room. The addition of the didgeridoo to the relatively homogeneous texture of Glass' organ writing is dramatic, but it doesn't disturb the basic shifting fields of the composer's music. It just deepens their color and variety in an immensely attractive way.

Star Wars Stories is a collection of the most famous melodies & fan favourite tracks from the recent Star Wars Universe including The Mandalorian, Solo: A Star Wars Story and Rogue One. This compilation features main themes, epic orchestral tracks and emotional songs, paying tribute to the originals John Williams, Ludwig Goransson, John Powell, Anthony Williams & Michael Giacchino. This project is a follow-up to the 2019 release Music From The Star Wars Saga - the essential collection, a compilation of music from the Star Wars films.

In the beginning of the seventies, the Austrian band Eela Craig performed pure progressive rock what their self-titled debut skillfully demonstrates. The five follow-up albums saw a change into a different direction and became a bit shallow. The first two bonus tracks are excerpts from "Dimensionen zwischen Pop und Klassik" ("Dimensions between pop and classical music"). It was written by Dr. Alfred Peschek and performed by Eela Craig with orchestra in 1972 and broadcasted by the ORF (Österreichischer Rundfunk, Austrian radio) but never officially released on CD. The full colored booklet contains, as usual in this series, a comprehensive band history as well as a discography and numerous pictures from Eela Craig’s beginnings.