The 2010 issue of Mississippi Blues by Sonny Landreth on the Fuel 2000 imprint is not a new album, nor is it a representative compilation of his oeuvre. In fact, the set is a complete repackage of the album entitled The Crazy Cajun Recordings originally issued on CD by Great Britain’s Edsel in 1999. The material dates from 1973 and 1977, recorded with the famed Huey P. Meaux (aka the Crazy Cajun) when he wasn’t touring with Clifton Chenier as part of his Red Hot Louisiana Band. These 20 tracks range from Landreth’s Lafayette, LA-styled take on the acoustic Delta blues solo and with a band that included a mandolin player, an electric bassist, and a drummer to his early electric experiments playing a meld of Cajun-flavored soul, rock, and R&B. The electric slide guitar fury evidenced on his own records from the 1980s onward is all but absent here, but the acoustic slide work is particularly plentiful – check his reading of “I Know You Rider,” “Lazy Boy,” and the stomping “Prodigal Son”.

Les Traversées Baroques continues its exploration of the great repertory of sacred music from northern Europe. After Marcin Mielczewski, the ensemble has decided to turn to Mikołaj Zieleński for its new recording, thus rehabilitating this Polish Baroque composer whose biography is no more than a long series of question marks, but whose magnificent music amply compensates for the gaps in our knowledge.

From the opening track, "Champagne Charlie," to the dazzling finale, "T.B. Blues," Leon Redbone presents an introspective collection of blues and big band melodies in timeless fashion, a rare feat because of its release date in 1978. The record was highly acclaimed and regarded as the purest of jazz and classic blues by a remarkable legend and icon in this musical form. Most of the record, like the amiable "Sweet Sue (Just You)" and memorable "Big Bad Bill (Is Sweet William Now)," is filled with the best that blues and ragtime has to offer. The music itself is quite light and jolly during the more uplifting moments, with others such as "I Hate a Man Like You" very depressing and sorrowful. The band backing up Redbone is delightful, filled with jubilant horns, oboes, and trumpets. "T.B. Blues" closes out this record as a charming look back into the world of blues via pioneer Jimmie Rodgers. Two melodies written and composed by giant Jelly Roll Morton are featured here, with fresh and stunning new arrangements by Leon Redbone and company, "If Someone Would Only Love Me" and "I Hate a Man Like You".

Talking Heads At the start of their career, Talking Heads were all nervous energy, detached emotion, and subdued minimalism. When they released their last album about 12 years later, the band had recorded everything from art-funk to polyrhythmic worldbeat explorations and simple, melodic guitar pop. Between their first album in 1977 and their last in 1988, Talking Heads became one of the most critically acclaimed bands of the '80s, while managing to earn several pop hits. While some of their music can seem too self-consciously experimental, clever, and intellectual for its own good, at their best Talking Heads represent everything good about art-school punks. And they were literally art-school punks. Guitarist/vocalist David Byrne, drummer Chris Frantz, and bassist Tina Weymouth met at the Rhode Island School of Design in the early '70s; they decided to move to New York in 1974 to concentrate on making music.

Bob Dylan & Mark Knopfler / The Jokermen / 3CD Foldup Papercase / Scorpio Slow Train Coming sessions, Muscle Shoals, AL April 30 – May 11, 1979 This is a totally unique collection of a lot of songs performed by Bob Dylan and Mark Knopfler together. This collection is spanning from the early sessions for Slow train coming, the Infidels sessions, the concert in 1986 when Dylan joined Dire Straits to perform four of his own songs and also the concert a couple of days before that when Mark Knopfler joined Bob Dylan at a concert, backed by Tom Petty and The Heartbreakers. Two B-sides from vinyl singles and some songs which are not too much different than the album versions but different mixes or some instrument fewer or something like that. The sound quality has been improved a lot because all songs have been remastered. If you are looking for a complete collection of all songs with Dylan and Knopfler, please check this recording: The complete Infidels sessions. This is not 100% of all Dylan & Knopfler sessions though. You need to get the official releases of Infidels and Slow train coming aswell! Nothing from these two records is to be found in this collection. This is the material that didn't find it's way to these two records. Taken from the silver pressed bootleg "The Jokermen".

Soundboard recording taken from master source so the sound is really excellent, as good as it can get! I'm the fool is taken from the Polish radio broadcast and it has got some slight hiss. Calling Elvis suffers from some slight distortion at the high volume parts. It is the complete concert, it even includes the music they played before the concert as well as interview before and after the concert and it also includes some of the talking between songs that was cut away on the master source to make it absolutely complete. This show includes one of the best versions of Calling Elvis and Water of love. As a bonus an audience recording is included of the songs Mark Knopfler and his band played the day before, on 2nd August 1996, same location. They had to cancel that concert after a couple of songs because of the bad weather, it was raining a lot.

Home is Procol Harum's fourth album, released in 1970. With the departure of organist Matthew Fisher and bassist David Knights, and the addition of bassist/organist Chris Copping to the remaining core roster of players (lead singer and pianist Gary Brooker, drummer B. J. Wilson and lead guitarist Robin Trower), Procol Harum became, to all intents and purposes, the Paramounts again in all but name. The purpose of bringing in Copping was to return some of the R&B sound to the band that they had had with their previous incarnation. The initial sessions were performed in London at Trident Studios in the autumn of 1969 under the supervision of former organist Matthew Fisher, who had also produced the band's previous album. Unhappy with the sound and performances, the band scrapped the Trident sessions and began again in February 1970 with producer Chris Thomas and engineer Jeff Jarratt at Abbey Road Studios. Once the album was completed, it was decided that the cover would be a parody of a British edition of the board game snakes and ladders, featuring members of the band.

Bringing It All Back Home is the fifth studio album by the American singer-songwriter Bob Dylan, released in April 1965 by Columbia Records. In a major transition from his earlier sound, it was Dylan's first album to incorporate electric instrumentation, which caused controversy and divided many in the contemporary folk scene. The album is split into two distinct halves; the first half of the album features electric instrumentation, in which on side one of the original LP, Dylan is backed by an electric rock and roll band. The second half features mainly acoustic songs. The album abandons the protest music of Dylan's previous records in favor of more surreal, complex lyrics. Bringing It All Back Home has been described as one of the greatest albums of all time by multiple publications. In 2003, it was ranked number 31 on Rolling Stone's list of the "500 Greatest Albums of All Time", later repositioned to number 181 in the 2020 edition.

Considered one of the greatest pianists of the 20th century, Arturo Benedetti Michelangeli (1920-1995) nevertheless left only a small body of recordings due to his perfectionism. Nor did he give live concerts often, frequently canceling them at the last minute for flimsy reasons. Still, his playing was prized for its clarity, directness, and unique interpretations.

Here is charming and completely diverting music. These melodious chamber works by Johann Christian Bach, known as "The London Bach" overflow with catchy melodies that will put a smile on the face of any music lover. This is not music with a message other than to entertain and the youngest son of Johann Sebastian was an imaginative composer who embraced the new Classical era. He was among the earliest masters to perform solos on the then newfangled pianoforte. Mozart took lessons from J.C. Bach and was much influenced by him. Trevor Pinnock and The English Concert play these beguiling works with a sense of joy and delight.

Trevor Pinnock and the English Concert's famed Handel recordings, performed with period instruments! Includes Water Music; Music for the Royal Fireworks; 6 Concerti Grossi, Op. 3; 12 Concerto Grossi, Op. 6; Concerto a due cori No. 3 in F major, "Concerto in Judas Maccabaeus," and more.

Simon & Garfunkel's first masterpiece, Parsley, Sage, Rosemary and Thyme was also the first album on which the duo, in tandem with engineer Roy Halee, exerted total control from beginning to end, right down to the mixing, and it is an achievement akin to the Beatles' Revolver or the Beach Boys' Pet Sounds album, and just as personal and pointed as either of those records at their respective bests. After the frantic rush to put together an LP in just three weeks that characterized the Sounds of Silence album early in 1966, Parsley, Sage, Rosemary and Thyme came together over a longer gestation period of about three months, an uncommonly extended period of recording in those days, but it gave the duo a chance to develop and shape the songs the way they wanted them.

The Infamous Stringdusters est l'un des groupes de bluegrass les plus populaires de sa génération. Formé à Nashville (Tennessee), en 2006, il réunit les musiciens Andy Hall (dobro), Chris Pandolfi (banjo), Jeremy Garrett (violon), Travis Book (contrebasse), Chris Eldridge (guitare) et Jesse Cobb (mandoline). Signé par le label Sugar Hill Records, le groupe enregistre Fork in the Road (2007), récompensé par deux IBMA Awards, puis The Infamous Stringdusters (2008). Après le départ de Chris Eldridge, Things That Fly (2010) est soutenue par les participations de Dierks Bentley et Sarah Siskind. L'un de ses titres, « Magic #9 », est nommé aux Grammy Awards. En 2011, c'est au tour de Jesse Cobb de quitter la formation, qui recrute Andy Falco pour la tournée donnant lieu à l'album We'll Do It, sorti sous le propre label du groupe, High Country Recordings. Deux autres albums suivent sous la même étiquette, Silver Sky (2012) et Let It Go (2014), avant de commencer la série de reprises Undercover. Le groupe signe alors avec Compass Records pour l'album suivant Ladies & Gentlemen (2016), auquel participent Joan Osborne, Lee Ann Womack, Mary Chapin Carpenter et Joss Stone.

Broadcast live by King Biscuit on July 11th 1978, this superb performance from the now tragically late John Prine recorded at the Bottom Line Club in New York s Greenwich Village, several years into the man s career, is among his finest ever shows. His debut album had been released to huge critical acclaim, albeit somewhat modest sales (reaching only 153 on Billboard), in 1971 on the Atlantic label. Featuring such legendary numbers as Hello in There and Angel From Montgomery (versions of both are featured) it was voted into Rolling Stone s All Time Greatest 500 Albums list in 2003. The tour, of which this gig was part, was performed in support of Bruised Orange (1978), Prine s 5th studio album, and the lengthy 30-song set list features no fewer than 6 of the album s 10 cuts, although strangely John omits to perform the stunning title track. The remainder of the songs played are a mix from 3 out of 4 previous albums (he doesn t play anything from his sophomore record, 1972 s Diamonds In The Rough) plus a smattering of cuts yet to be released at show-time, but made available on 1979 s Pink Cadillac and post-1980 releases. A few well-chosen covers are additionally played, including a rocking version of Treat Me Nice (from the pens of messrs. Leiber and Stoller) and a nice Ballad Of A Teenage Queen - made famous by Johnny Cash but composed by Prine s friend Jack Clement. The line up for the evenings proceedings includes some fine backing by the group he had already assembled for Pink Cadillac, (John Burns - acoustic and electric guitars, Howard Levy - piano, harmonica, mandolin, Tom Piekarske - bass, Angelo Varias - drums) and it s interesting to hear some of his oldies performed with full band, although he does go back to just acoustic guitar for the likes of Hello In There.

Piano virtuoso Aldo Ciccolini passed away at the age of 89 in his home in Paris, France, in February 2015. Born in Naples in 1925, he entered the Naples Conservatory at the age of 9, where he studied piano and composition, debuted with Chopin's Piano Concerto No. 2 at the age of 17, and at the age of 22 became the youngest professor at his alma mater. After that, at the age of 24, he won the Long-Thibaud International Competition and moved to Paris, eventually becoming a French citizen and active for many years as a renowned pianist representing the French music world. After becoming a professor at the Paris Conservatory at the age of 46, his activities became more international, and he visited Japan many times.Ciccolini was an interpreter and advocate of "modern French music," and also devoted himself to mentoring the next generation of musicians. This album not only contains that music, but also 115 tracks of piano masterpieces from a wide range of repertoire, including Chopin, Bach, Brahms, Prokofiev, and Rachmaninoff, totaling 6 hours and 25 minutes.