Originally released as 3-LP + 7" in 1972. Fillmore: The Last Days is a live album, recorded at the Fillmore West in San Francisco, California from June 29 to July 4, 1971. It contains performances by 14 different bands, mostly from the San Francisco Bay Area, including Santana, the Grateful Dead, Hot Tuna, Quicksilver Messenger Service, and the New Riders of the Purple Sage. It was released by Columbia Records in June 1972 as a three-disc LP. It was re-released by Epic Records in 1991 as a two-disc CD.

With a limitless supply of dirty riffs, snarling vocals, and timelessly catchy, anthemic choruses, AC/DC is one of the most important and most lasting forces in hard rock. Founded in the early '70s by Scottish-born brothers Malcolm and Angus Young, the Aussie band exploded onto the international stage in 1979 with the release of their multi-platinum-selling sixth album, Highway to Hell. The death of charismatic frontman Bon Scott in 1980 threatened to derail the group, but AC/DC powered through. They recruited Geordie vocalist Brian Johnson and unleashed their most successful effort to date, Back in Black, which has become the second best-selling album in history. The band continued to help define the sound of hard rock and metal throughout the '80s, '90s, and beyond, spawning countless imitators and enjoying steady, consistent commercial success. They also became one of the best examples of arena rock, playing to enormous crowds as the years went on, and rocking as hard as ever on studio albums like 1990's pop-glinted The Razor's Edge and 2020's Power Up, both of which reached the upper tiers of multiple charts.

A rare set of live Texas honky tonk from the mid-60s by one of the true titans of country music. Fully remastered and in mono with new booklet essay and photographs. Not many icons of 1950s and 1960s country music ever made a live album during country’s golden age. One of the select few who tried was George Jones, whose producer H.W. “Pappy” Daily hired mobile equipment and taped George and the Jones Boys at Houston’s famous honky-tonk Dancetown USA sometime in early 1965. Although he claimed to have a cold, George was in fine form that night, but significant audio problems that could not have been easily fixed in the 60s caused Daily to shelve the tapes and abandon the notion of releasing any kind of live set on his most eminent discovery.

This is the third in series of expanded versions of albums by Etta James, one of the greatest and most influential recording artists of our times. The original 10-track album is bolstered with 14 bonus titles recorded between 1962 and 1965. Together they show Etta's many sides, from the punchy soul of Pay Back and Only Time Will Tell to gorgeously orchestrated revivals of jazz standards such as Lover Man (Oh Where Can You Be), with a few Nashville-cut country tunes included for good measure. Track selection by Mick Patrick, with notes by Garth Cartwright.

As more ensembles perform and record Steve Reich's Music for 18 Musicians, its status as a minimalist masterpiece is increasingly affirmed. Ensemble Signal's 2015 release on Harmonia Mundi is one of several amazing performances that have matched Reich's original ECM New Series recording in technical brilliance and expressivity, and it has even earned the composer's approval for being, "…fast moving, spot on, and emotionally charged." Under the direction of Brad Lubman, Ensemble Signal maintains a relentlessly steady pulse and articulates the interlocking patterns with absolute precision, though the shifting tone colors are perhaps a little clearer in this performance than in other recordings. The microphone placement is not so close that individual instruments stand out, but there is enough separation of parts to allow some sense of direction and the orientation of the smaller sub-groups of pianos, xylophones, marimbas, strings, clarinets, and voices. This is a mesmerizing performance that will transfix listeners, and the music is so compelling that it will linger on well after the CD stops. Highly recommended.

This is a totally unique recording featuring very rare studio demos! Taken from the soundboard during the Golden Heart sessions sometime 1994/95. Includes five very good unreleased songs. Song number 10 is very very nice, but not written by Mark Knopfler unfortunately. The sound quality is good. Also featured on this official bootleg are 5 songs from the Hamburg 2001 radio broadcast, also in very good sound quality.

Compiled by Philip King “And then came the rise of synth pop : blokes with dodgy haircuts hunched over keyboard-operated machines stuffed with wires and do-it-yourself tone oscillators making sounds like a brood of geese passing gas in a wind tunnel. Whoopee! This is the way the ‘70s ended : not with a blood-curdling bang but with a cheap, synthesized, emasculating whimper.” NICK KENT, NME. All The Young Droids: Junkshop Synth Pop 1978-1985 is a new compilation that charts the underbelly of the epoch-defining sound of the synthesiser in 80s popular music. Compiled by Philip King (previously seen compiling All The Young Droogs, Glitterbest and Boobs - The Junkshop Glam Discotheque), the music here connects the dots between DIY synth enthusiasts grappling with new, cheap synthesisers at the tail-end of punk and wannabe, jobbing songwriters enthral to the new music pioneered by Gary Numan, Depeche Mode and Daniel Miller’s Mute Records.

On this recording, Paul Lewis performs two major works of the keyboard repertoire. Decidedly programmatic, Mussorgsky's Pictures at an Exhibition is more commonly heard today in Ravel's orchestral version. However, the original for solo piano is both a technical tour-de-force and a brilliant example of the composer's coloristic gifts. The pairing is Schumann's Fantaisie Op.17, a work whose movements originally had evocative titles (Ruin, Triumphal Arch, Constellation). The 'program' was removed before publication, but the 'pictures' Schumann intended listeners to imagine remain.

On his second album Heat Treatment, Graham Parker essentially offered more of the same thing that made Howlin' Wind such a bracing listen. However, his songwriting wasn't as consistent, with only a handful of songs – like "Pourin' It All Out" and the title track – making much of an impression. Unfortunately, the record was also tamed by the production of Mutt Lange, who polishes the record just enough to make the Rumour sound restrained. Which means, of course, the sheer musicality of the band can't save the lesser material. Heat Treatment remains an enjoyable listen – at this stage of the game, Parker hadn't soured into a curmudgeon, and his weaker songs were still endearing – but it's a disappointment in light of its predecessor.

Spuds rejoice. After years of requests, Futurismo are thrilled to announce a brand new limited pressing of the DEVO’s incredible Recombo DNA 4xLP with Mini CD Set, plus also available is a brand new 3xCD version. For decades Devo have been working non-stop at Recombo DNA Laboratories on a new kind of research to keep up with the mutating world around us. That extensive research is now ready for public consumption once again. Futurismo were the first to bring you this on vinyl and now they present unhindered access into Devo’s labs, documenting the scientific analysis and demonstrations as conducted by the band between the years 1977-2008.

With a limitless supply of dirty riffs, snarling vocals, and timelessly catchy, anthemic choruses, AC/DC is one of the most important and most lasting forces in hard rock. Founded in the early '70s by Scottish-born brothers Malcolm and Angus Young, the Aussie band exploded onto the international stage in 1979 with the release of their multi-platinum-selling sixth album, Highway to Hell. The death of charismatic frontman Bon Scott in 1980 threatened to derail the group, but AC/DC powered through. They recruited Geordie vocalist Brian Johnson and unleashed their most successful effort to date, Back in Black, which has become the second best-selling album in history. The band continued to help define the sound of hard rock and metal throughout the '80s, '90s, and beyond, spawning countless imitators and enjoying steady, consistent commercial success. They also became one of the best examples of arena rock, playing to enormous crowds as the years went on, and rocking as hard as ever on studio albums like 1990's pop-glinted The Razor's Edge and 2020's Power Up, both of which reached the upper tiers of multiple charts.

The Precious Moments: 1971–1984, a new album by Matt Monro, was released on May 30, 2025. This compilation brings together recordings made by the artist between 1971 and 1984 and features a total of 86 tracks. The album was released under the X5 Music Group label, a division of Warner Music Group.

The 39th Festival International Nuits d’Afrique de Montréal, taking place from July 8 to 20, will be diverse, authentic, and joyful, in the image of the Franco-Brazilian Flavia Coelho, performing at the opening concert, and the incomparable Meiway at the closing concert. True to its mission, the Festival will showcase the best of music from Africa, the Antilles, and Latin America. For 13 days, 120 concerts and activities with over 700 artists from some thirty countries will resonate across 6 performance venues and two free outdoor stages in the heart of the Quartier des spectacles.

Despite the possible euphemisms of the title, 2006's Chicago XXX is not the band's raciest album since Hot Streets, nor is it their installment in the extreme-action spy series kicked off by Vin Diesel - instead, it's the veteran group's first proper studio album since 1995's flop Night and Day: Big Band, and considering that was a detour into retro-swing, XXX is their first mainstream pop album since 1991's Twenty 1, which is a 15-year gap between pop records. That's an awfully long wait - in the meantime, the band has been putting out live albums, Christmas records and hit comps, bringing the total up to 30 LPs - but apart from the diluted trip-hop beat from "Feel (Hot Single Mix)" that kicks off the album, you'd never know that XXX was made and recorded in 21st century…

Within the first 30 seconds of "Spiritual Eternal," the opening track on Alice Coltrane's final studio album, Eternity, the listener encounters the complete palette of Alice Coltrane's musical thought. As her Wurlitzer organ careens through a series of arpeggiated modal drones, they appear seemingly rootless, hanging out in the cosmic eternal. They remain there only briefly before an orchestra chimes in behind her in a straight blues waltz that places her wondrously jagged soloing within the context of a universal musical everything as she moves through jazz, Indian music, blues, 12-tone music, and the R&B stridency of Ray Charles. This is the historical and spiritual context Alice Coltrane made her own, the ability to open up her own sonic vocabulary and seamlessly create an ensemble context for to deliver an unpredictable expression of her vision of harmonic convergence…