Revival: Live at Pookie's Pub is a thrilling previously unissued live recording of Elvin Jones’ quartet that captures the legendary drummer’s emergence as a bandleader at a little-known club in New York City where he had a weekly residency after leaving John Coltrane's band in the late 1960s. Featuring Joe Farrell on tenor saxophone, Billy Greene on piano, and Wilbur Little on bass, Revival was recorded between July 28-30, 1967, just two weeks after Coltrane died on July 17.

The original cassette tape was released by Nanjo Asahito's La Musica. (probably 1998 or 1999). The sources were incomplete demo recordings of early Acid Mother's Temple. Nanjo equalized and distorted to his trademark "Nanjo Sound". When Kawabata got these tracks of this cassette tape, he remastered for upload on Bandcamp. The tracks included here were later completed and included on the first cassette tape and the first album.

These tracks are from the split albums (with Träd, Gräs och Stenar and Kinski) for their Japan tour with Acid Mothers.

When Paul McCartney returned to the studio a year after his wife Linda's death, he wanted to cut loose and have a good time. He gathered a bunch of friends, most notably guitarist David Gilmour, with the intention of cutting a collection of rock & roll oldies with minimal rehearsal and a handful of takes. On the surface, that makes Run Devil Run like Choba B CCCP, but there are subtle differences that make Devil a far superior effort. This time around, there's a real freshness to the performances. Gilmour, in particular, amazes, turning in some of his finest playing in years. Similarly, McCartney is invigorated, leaving behind his vocal schtick, laying back and rocking out with a set of fairly unfamiliar oldies.

Following the huge success of the Symphonies boxsets, and considering Jordi Savall's expertise in sacred music it was invevitable that he should record the Missa Solemnis. As in his previous Beethoven, Schubert and Mendelssohn recordings, the Catalan maestro delivers a recording freed from the weight of past traditions to underline the dynamics, the section balance and the timbres that are required in this repertoire. He ignites the Promethean fire as imagined by Beethoven's demiurgic mind.

Appearing one year after Rhino's Ramones box set Weird Tales of the Ramones, and appearing four years after Rhino's first single-disc Ramones collection Loud, Fast Ramones: Their Toughest Hits – which itself appeared after Rhino's excellent double-disc Hey! Ho! Let's Go!: The Anthology – Rhino's 2006 collection Greatest Hits serves up 20 of the group's basics. Unlike 2002's Loud, Fast Ramones, Greatest Hits makes no attempt to cover anything other than the group's peak period: the first 16 songs cover 1976's Ramones through 1980s End of the Century, with a selection apiece from Pleasant Dreams ("The KKK Took My Baby Away"), Subterranean Jungle ("Outsider"), Brain Drain ("Pet Sematary") and Too Tough to Die ("Wart Hog").

‘Under A Mediterranean Sky’ is the first new acoustic solo album from legendary guitarist Steve Hackett, since 2008’s ‘Tribute’ – a record that saw him tackling some of the beautiful classical pieces that his guitar idols had also put their hand to. This new album however takes inspiration from Steve’s extensive travels around the Mediterranean. “A lot of acoustic ideas had been forming over the years, and it felt like the perfect time to create this album,” notes Hackett, “a time to contemplate the places we’ve visited around the Mediterranean with the kind of music which evolved from the world of imagination.” ‘Under The Mediterranean Sky’ lacks nothing of the grandiosity of Steve Hackett’s recent solo electric records, however it does give room to the stunning breadth of approach that he has to playing his acoustic guitar, reminding us once again why Steve is such a revered and respected musician.

The sentimental and idyllic picture generally summoned up by Christmas concerti, especially those of the Baroque period, does not altogether reflect musical reality in Italy. Whereas today’s listener imagines joyful music composed in a pious time, the musical landscape portrayed in the concerti of the Italian Baroque composers was altogether richer and more colourful. This can be seen from the selection of Baroque concerti on this disc, which were either written directly for Christmas celebrations, or — as in the case of the concerto by Pez — could be used as Christmas music.

Le "codex Las Huelgas" qui a été récemment daté des années 1340, rassemble 186 chants liturgiques et para-liturgiques dont L'Ensemble Gilles Binchois présente une sélection. La musique du Moyen âge n'existe aujourd'hui que grâce au précieux travail de musiciens comme Dominique Vellard qui s'emploient à donner vie au répertoire liturgique des monastères anciens. Aux quatre coins de l'Europe médiévale, des manuscrits - ou codex - consignaient les chants des offices.

In the rich musical life of early 18th century Prague, the Advent and Christmas seasons formed a chapter unto themselves. Their specific repertoire consisted not only of the themes of this liturgical season (including a strong element of the Marian cult), but also of special liturgical and musical forms. In both songs and figural music Czech suddenly appeared side by side with Latin, along with elements of folk religion and culture.

In an odd bit of programming, Columbia placed the ballads from Miles Davis' February 12, 1964, concert on My Funny Valentine and the uptempo romps on this LP. Davis, probably a bit bored by some of his repertoire and energized by the teenage Tony Williams' drumming, performed many of his standards at an increasingly faster pace as time went on. These versions of "So What," "Walkin'," "Four," "Joshua," "Seven Steps to Heaven," and even "There Is No Greater Love" are remarkably rapid, with the themes quickly thrown out before Davis, George Coleman, and Herbie Hancock take their solos. Highly recommended and rather exciting music, it's one of the last times Davis would be documented playing a full set of standards.

Many observers were prepared to write off the B-52's after the release of Bouncing Off the Satellites. Granted, the album was completed in the wake of Ricky Wilson's death, but the group appeared bereft of new musical ideas and were sounding rather stale. In other words, the last thing anyone expected was a first-class return to form, which is what they got with Cosmic Thing. Working with producers Don Was and Nile Rodgers, the B-52's updated their sound with shiny new surfaces and deep, funky grooves – it was the same basic pattern as before, only refurbished and contemporized. Just as importantly, they had their best set of songs since at least Wild Planet, possibly since their debut. "Cosmic Thing" and "Channel Z" were great up-tempo rockers; "Roam" had a groovy beat blessed with a great Cindy Wilson vocal; and "Deadbeat Club" was one of their rare successful reflective numbers.

With the subtitle "Songs from the Vault," you'd be forgiven if you thought 24 Karat Gold was an archival collection of unreleased material and, in a way, you'd be right. 24 Karat Gold does indeed unearth songs Nicks wrote during her heyday – the earliest dates from 1969, the latest from 1995, with most coming from her late-'70s/early-'80s peak; the ringer is a cover of Vanessa Carlton's 2011 tune "Carousel," which could easily be mistaken for Stevie – but these aren't the original demos, they're new versions recorded with producer Dave Stewart. Running away from his ornate track record – his production for Stevie's 2011 record In Your Dreams was typically florid – Stewart pays respect to Nicks' original songs and period style by keeping things relatively simple while drafting in sympathetic supporting players including guitarists Waddy Wachtel and Davey Johnstone and Heartbreakers Benmont Tench and Mike Campbell.