In 1969 British singer/songwriter Michael Chapman took the U.K.'s folk-rock world by surprise with his debut album, Rainmaker, on the Harvest label. In an era when each week garnered a new surprise in the music world, gathering serious and widespread critical acclaim wasn't easy, and finding a buying public near impossible. Rainmaker showcases a new talent who holds nothing back for himself. Every songwriting principle and trick, killer guitar riff, and songwriting hook in his bag makes an appearance here (something he would never do again). As a result, there are several truly striking things about the album that makes it stand out from the rest of the Brit folk-rock slog from the late '60s. One of them is Chapman's guitar playing.

Fielding an all-contemporary agenda, mostly by composers with links to her native Finland, Mari Mäntylä is a skilled and expressive player who presents a persuasive case for the decacorde. The leaden properties that blunted the many positive attributes of Yepes’ recorded legacy are absent, Mäntylä’s instruments sounding like unusually resonant standard guitars entering territory their six-string forbears are denied. Nowhere is this more striking than in Kymmari by Jukka Tiensuu, composed for Mäntylä’s semi-fretless decacorde. Two strings are altered by a quarter tone and yes, the music is seriously heavyweight. Its unique soundscape is an experience not to be missed. Elsewhere, there’s more accesible fare, the ethereal Pilvi kämmenellä (A Cloud on the Palm of the Hand), a potential ”hit” for the modern decacorde.

Live at Ludlow Garage 1970 features 91 minutes of the Allman Brothers Band in concert at a Cincinnati venue that they loved, nearly a year before their legendary Fillmore shows. The acoustics are good, though a little shaky – the tape was made at seven-and-a-half IPS, the bare minimum professional standard, which leaves more hiss than one might like and a bit less clarity than a fully professional live album might show. On the other hand, the group's sound imparts its own punch and clarity, and it was done in stereo, and if not for the existence of the Fillmore tapes, and the fact that the albums they yielded sold a kajillion copies, this show might well have been released in the 1970s. It isn't as intense as the Fillmore shows, but it does capture the group as a little-known working band with but a single album out and building a reputation – and with Dickey Betts yet to emerge as either a singer or composer and their sound still being worked out ("Statesboro Blues" gets a startlingly subdued performance, anticipating the acoustic version of "In Memory of Elizabeth Reed" from the '90s recording An Evening with the Allman Brothers Band: 2nd Set).

First fully authorised release comprising Colosseum recorded live at the BBC 1969-1971. Over 60 tracks, many recordings new to CD - over 6 hours playing time. Painstakingly researched by Colin Harper, Nigel Lees and Ashley Wood. Restored and remastered by Eroc for optimum sound quality throughout. In-depth liner notes by Chris Welch with a foreword by Pete Brown. Includes 44-page booklet, photographs and contributions from former band members.

New Orleans' Troy “Trombone Shorty” Andrews knows the music biz inside out. Hounded for years by friends and music business types to jump into the game, he understood the lessons of his lineage elders: too many had been been ripped off and discarded. He took his time, assembling, rehearsing, and touring Orleans Avenue, a band steeped in brass band history, jazz improv, funk, soul, rock, and hip hop. He finally signed to Verve Forecast and released Backatown in April of 2010. Entering at number one on the jazz charts, it stayed there for nine straight weeks, and was in the Top Ten for over six months. For True hits while Backatown is climbing again. Chock-full of cameos it is an extension, but sonically different. It's production is crisper, but the musical diversity more pushes further. In addition to trombone, Shorty plays trumpet, organ, piano, drums, synths, and, of course, sings…

After flirting (albeit mildly) with alternative rock on Counterparts, Rush returns to classic progressive rock on Test for Echo. Cutting back many of the AOR production flourishes that hampered most of their late-'80s and early-'90s releases, the band concentrates on the sounds and styles that made albums like Moving Pictures huge successes in the late '70s and early '80s. Test for Echo is all instrumental gymnastics and convoluted song structures, all of which demonstrate each member's skills. And the key to the album is the individual performances, since each song isn't particularly memorable as a song, only as a way to showcase the solos. With Rush, such a tactic isn't necessarily a bad thing, since they have always been better at playing than writing, and they have rarely played better in the past ten years than they have on Test for Echo.

Founded in the southern German city of Bietigheim-Bissingen by Heiko Maile, Oliver Kreyssig and Marcus Meyn in the year 1984, the band Camouflage scored an unexpected international hit with their debut album ‘Voices & Images’ in 1988. Their sophomore album ‘Methods Of Silence’, released just a year later, was an even bigger success. Songs like ‘The Great Commandment’ and ‘Love Is A Shield’, went on to become perennial classics of the synth pop genre. For the production of their third album ‘Meanwhile’ Heiko Maile and Marcus Meyn (Oliver Kreyssig has left the band by then) were striking a new path. They recorded the songs with a band lineup with real drums, bass, guitar and keyboards. To mark the 30th anniversary of the album, the band opened up the archives to assemble a special bonus edition including a wealth of rare and unreleased recordings, limited to 500 triple LP sets and 1,500 double CDs.

This release features a collection of what might be called piano orphans: commercial and non-commercial recordings of great pianists that simply have never found their way onto compact disc. Among these treasures are fifteen minutes of Dinu Lipatti playing Scarlatti and Brahms that have only recently surfaced; an unpublished disc of Alfred Cortot playing the “Russian Dance” from Petroushka; and previously unpublished excerpts of the Tchaikovsky first piano concerto played by Vladimir Horowitz with the Philadelphia Orchestra, recorded during a 1932 concert conducted by Fritz Reiner and recorded as an experiment by the Bell Telephone Laboratory. This is Horowitz's earliest known concert performance and is in amazing sound for that time. It is unfortunate that the entire concerto was not recorded, but hearing these excerpts will be a revelation for Horowitz fans. Also included are live concerto performances by Lev Puishnov and Guiomar Novaes. We feel certain that piano enthusiasts worldwide will treasure this 2-CD set as nothing like it has been heard since Gregor Benko produced his acclaimed Landmarks of Recorded Pianism LP forty years ago.

Released shortly after the composer's 60th birthday, this album from The Zoo Duet presents works that deserve to be better known. Taking a line for a second walk is vintage Nyman, conceived originally as an orchestral work for Houston Ballet in 1966 and transcribed for two amplified pianos without any loss of its hypnotic intensity. Water Dances began life as music for Peter Greenaway's film Making A Splash and receives its premiere recording in its five-movement form on this disc. (Music Week)

The Happenings are best-known for their hit single "See You in September," which is a sunny slice of sunshine pop featuring happy, bouncy vocals and intricate harmonies reminiscent of great white doo wop groups like the Four Seasons and the Tokens, who were not-so-coincidentally the Happenings' mentors and producers. Collectables has reissued both of the Happenings' records on one disc: 1966's The Happenings and 1967's Psycle. Both discs feature the stunning vocal gymnastics of their hit single and their updated doo wop sound coated with an easy listening gloss of strings on a not-very-thick Wall of Sound. Most of the songs on their debut were written by the members of the Tokens and are not bad but not that memorable, as they follow the formula of their hit but pale in comparison. An exception to this is the strange "You're in a Bad Way," which is a spooky track filled with death-related imagery that sports a surprisingly funky backbeat.

Lucky Peterson’s ‘I’m Back Again’ is an 11 track live CD, culled from the mammoth 3 3DVD/2 CD "Live at the 55 Arts Club in Berlin" box set. For those who can’t face such a huge undertaking, this album provides an exciting alternative, as it focuses on Lucky’s multi instrumental virtuosity and his ability to work a crowd. It’s a sparkling album marred only by some heavy handed cuts that include an outrageous mid-number perfunctory end to the album. But if you can overlook such frustrating butchery, "I’m Back Again" has enough exhilarating moments to make it worth buying. Lucky is in imperious form throughout, exploding on keyboards, ripping it up on guitar and soulfully expressing his blues with weathered vocals.

Yazmin Lacey is a singer-songwriter who knows something about coming into her own. She came to music late, she says – “It's never late, but late in the perspective of that I'm doing it now,” – almost as if by fate. And throughout her time in the music scene, the 33-year-old has used her music as an exercise in capturing those moments and putting them into song, as if a snapshot of the intimate parts of her own life.

Mind Maze is Trees Speak’s fifth album to be released on Soul Jazz Records in the space of little over two years. "Trees Speak is music as cosmological translation, borrowing from Can and Miles Davis' Bitches Brew-era practice of studio-as-composition-tool, where lengthy improvisations coalesce into indelible flights of fancy with razor blade-assisted tape edits. Trees Speak operates between the subconscious and the unconscious, the radiant and the eclipse, the micro and the macro.