Love Box, pubblicato nel 2007, è una raccolta della cantante italiana Mina. Cofanetto con scatola di cartone rosso, contenente 3 CD ciascuno in busta separata, si tratta dell'ennesima raccolta di materiale già pubblicato dal 1969 al 1985. Non contiene inediti.

2009 UK five CD set containing a quintet of albums from the British rockers: 'All The Young Dudes' (1972), 'Mott' (1973), 'The Hoople' (1974), 'Drive On' (1975) and 'Shouting & Pointing' (1976).

'emails i cant send' is the fifth studio album by American singer and songwriter Sabrina Carpenter, released on July 15, 2022. It is Carpenter's first studio album with the label. The album spawned five singles 'Skinny Dipping', 'Fast Times', 'Vicious', 'Because I Liked a Boy' and 'Nonsense'.

A Little Bitty Tear (5-CD) He is a man of many talents: singer, author, Academy Award winning actor, folk music scholar and performer. He was a companion of Woody Guthrie, and one of the few who laid the foundation for the Folk Boom of the late '50s and '60s. Surprisingly, Burl Ives spent most of the early '60s recording in Nashville with legendary producer Owen Brad-ley. Beginning with A Little Bitty Tear this collection captures Big Daddy in the studio with the cream of the Nashville session men: Grady Martin, Floyd Cramer, Hank Garland etc. Burl was able to draw songs from the best Nashville writers like Hank Cochran, Roger Miller and Harlan Howard, and this collection features his complete recor-dings between 1961 and 1965 when he had three top 10 country singles. Don't dismiss this one! It's some of the most purely enjoyable country music from that period.

Then Play On is the third studio album by the British blues rock band Fleetwood Mac, released on 19 September 1969. It was the first of their original albums to feature Danny Kirwan (although two tracks recorded with him were included on the compilation album The Pious Bird of Good Omen released earlier in 1969) and the last with Peter Green. Although still an official band member at the time, Jeremy Spencer did not feature on the album apart from "a couple of piano things" (according to Mick Fleetwood in Q magazine in 1990). The album offered a broader stylistic range than the straightforward electric blues of the group's first two albums, displaying elements of folk rock, hard rock, art rock and psychedelia. The album reached No. 6 on the UK Albums Chart, becoming the band's fourth Top 20 LP in a row, as well as their third album to reach the Top 10.

Suitable for Framing is the second studio album by American rock band Three Dog Night. The album was released on the Dunhill record label on June 11, 1969 and was the first of two albums released by the band that year. The album contains the top 20 hit singles "Easy to Be Hard", "Eli's Coming", and "Celebrate"; the latter of which (along with the album's opening track "Feelin' Alright") featured the Chicago horn section. It is also notable for being the first album by Three Dog Night to include songs written by band members, and for its inclusion of the Elton John / Bernie Taupin song "Lady Samantha," as the duo of John/Taupin would not become widely known in the United States for another year. The album reached the top 10 on charts in both The United States and Canada and became certified gold at the end of the year.

Layla and Other Assorted Love Songs is the only studio album by Anglo-American blues rock band Derek and the Dominos. Released in November 1970, the double album is best known for its title track, "Layla", and is often regarded as Eric Clapton's greatest musical achievement. The other band members were Bobby Whitlock on keyboards and vocals, Jim Gordon on drums, Carl Radle on bass, and special guest performer Duane Allman on lead and slide guitar on 11 of the 14 songs. In 2000, the album was inducted into the Grammy Hall of Fame. In 2003, television network VH1 named Layla and Other Assorted Love Songs the 89th-greatest album of all time, and Rolling Stone ranked it number 117 on its list of "The 500 Greatest Albums of All Time". Critic Robert Christgau ranked Layla the third greatest album of the 1970s.

Following the huge acclaim of Matt Berry’s 2021 album The Blue Elephant (“A sonic odyssey” – Uncut) – as well as last year’s one-off album of library music collaboration with the KPM label (“another string to Berry’s impressive bow” – Prog magazine) – we present Heard Noises, Matt’s eighth studio album with Acid Jazz, out 24 January. We’re hugely excited to offer a beautiful label-exclusive gatefold edition on Psychedelic Swirl colour vinyl, alongside the standard version Sky Blue LP, as well as corresponding soft-pack CD and retro Cassette. Out now, lead single ‘I Gotta Limit’ finds Matt trading lines with Kitty Liv (Kitty, Daisy and Lewis) as a man after a second chance with a woman impatient with his pleading. With a song structure inspired by Sly Stone, in a little over three minutes ‘I Gotta Limit’ crams in a plethora of musical ideas on an instantly catchy song which is part Northern Soul, part psych.

The arrival of a new Mogwai album – their eleventh – is cause for great celebration. The album’s title, The Bad Fire, is a working-class Glaswegian term for Hell. It reflects the difficult time that members of the band were going through. New to the studio was American producer John Congleton, known for his work with Explosions In The Sky, Sigur Rós, John Grant and pretty much everyone in between. Congleton’s work can be heard on the album’s three singles. The album opener “God Gets You Back” sounds like Daft Punk being hunted by My Bloody Valentine, while “Fanzine Made Of Flesh” sounds like a victory parade for a baby yeti; and “Lion Rumpus” does actually sound like a lion rumpus. The music of Mogwai is a difficult thing to describe, but an easy thing to experience. At punishing volume, it can annihilate your body, leaving you as little more than a head which should by rights fall helplessly to the ground. Yet the music contains an updraft, a sense of beauty encased in the onslaught. This holds you up, suspended and empowered, reminding you that paradise is your birthright. This is especially true of The Bad Fire. It may have been created in dark conditions, but all that is transcended by the act of four musicians working together here, now, in the moment – the only place where Mogwai exist.

Gillan is the first album by British rock band Gillan, released in September 1978. It was only released in Japan, Australia and New Zealand, but the album sold well in the UK as an import, aided by positive press reviews. In 1993 an album combining tracks from the Japan/Australia/New Zealand version of the Gillan and the Mr. Universe was released in CD format by the RPM record label under the title "Gillan – The Japanese Album".

ontroversial at the time, delayed because of fights with the record company over lyrical content and the original title (Volunteers of America), Volunteers was a powerful release that neatly closed out and wrapped up the '60s. Here, the Jefferson Airplane presents itself in full revolutionary rhetoric, issuing a call to "tear down the walls" and "get it on together." "We Can Be Together" and "Volunteers" bookend the album, offering musical variations on the same chord progression and lyrical variations on the same theme.

Heat, Dust And Dreams is a studio album by South African artist Johnny Clegg and his band Savuka, released in 1993, produced by Hilton Rosenthal, co-produced by Bobby Summerfield. The album received a 1993 Grammy Award nomination for Best World Music Album. The album would be the final work of the band Savuka. It was made in honor of member Dudu Zulu, who had been assassinated in the last years of the apartheid. Most songs of album are heavily influenced by the end of this dark period of South African history. "These Days", "When the System has Fallen", "In My African Dream" and "Your Time Will Come" all express hope for the future, while songs like "The Promise" and "Foreign Nights" talk of the problems people still have to face. "Emotional Allegiance" turns the attention to the Indian influence featuring Ashish Joshi on Tablas. It is the only Savuka album to receive the same degree of critical acclaim as the Juluka albums such as Universal Men, African Litany, Work for All and Scatterlings.

Après son premier disque solo « E il violoncello suonò », Hanna Salzenstein poursuit dans ce deuxième opus le récit de l’émergence du violoncelle soliste au début du XVIIIème siècle en Italie, en mettant en exergue le répertoire concertant pour violoncelle solo et orchestre à une période située peu après la naissance du concerto en lui-même. Le concerto est ici le genre le plus emblématique de l’émancipation d’un instrument. Il est le lieu de la démonstration, tant d’une virtuosité que d’une profondeur expressive propre au violoncelle. Elle est accompagnée par l’Orchestre de l’ensemble Le Consort.

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.