Continuing our short series of 'Expanded Versions' of classic Millie Jackson albums, the 1972 debut album from one of soul music's greatest talents now gets a well-earned makeover. The set's 10 original offerings are now bolstered by a further nine cuts, including both completely un-issued material - including all four tracks from Millie's first, 1969 studio session - and never before heard, unedited and/or alternate versions of some of the LP's best- known and best loved numbers. Contains several of Millie's 'career hits' including 'A Child Of God', 'Ask Me What You Want' and her UK chart debut 'My Man, A Sweet Man'.

On the occasion of the Bruckner bicentenary, the Vienna Philharmonic recorded its first ever complete Bruckner cycle under the baton of Christian Thielemann. In addition to the well-known canon of nine symphonies, the two earliest Bruckner symphonies in F minor and D minor, which are a world premiere on DVD and Blu-ray, were also recorded for the first time in the orchestra's history. This uniquely complete edition from the Musikverein and Salzburg Festival, featuring 11 symphonies, also includes extensive conversations with Christian Thielemann about each symphony and insights into his rehearsal work. "Two symphonies that document Bruckner's path to mastery quite excellently. (…) Conclusion: The next interesting Bruckner milestone in the cycle.

Live performance by Emmylou Harris and the Hot Band on 9/14/1976 at My Father's Place in Roslyn NY.

The Cure edged into new territory with Wild Mood Swings, but nevertheless drew scorn from certain quarters because it eschewed goth rock for pop, both pure and twisted. For 2000's Bloodflowers, Robert Smith decided to give the people what they wanted: a classic Cure album, billed as the third part of a trilogy begun with Pornography and continued with Disintegration. That turns out to be more or less true, since Bloodflowers boasts all of the Cure's signatures: stately tempos, languid melodies, spacious arrangements, cavernous echoes, morose lyrics, keening vocals, long running times. If that's all you're looking for, Bloodflowers delivers in spades. If you want something transcendent, you're out of luck, since the album falls short of the mark, largely because it sounds too self-conscious…

STUNNING 1973 BROADCAST RECORDING FROM A YOUNG LINDA RONSTADT This superb late ‘73 live radio broadcast, from the renowned Record Plant recording facility based in Sausalito, California, highlights some of the very best material that Linda Ronstadt performed during the first few vital years of her solo career. During this period Linda used Glenn Frey, Don Henley, Bernie Leadon and Randy Meisner of The Eagles either in the studio or as members of her live backing band. A version of ‘Nightingale’, then an unreleased Jackson Browne number although included on The Eagles debut album, is featured here. Ronstadt’s Don’t Cry Now (1973), her first album for Asylum Records, was released just two months prior to this recording. It was her most successful to date, spending more than a year on the Billboard album chart and peaking at number 45. Although not released until a year after this show, her Heart Like A Wheel follow-up is represented at this show by four cuts: ‘I Can’t Help It’ (If I’m Still In Love With You), ‘It Doesn’t Matter Any More’ (previously a hit for Buddy Holly), soul classic ‘Dark End Of The Street’ and ‘You’re No Good’.

All the songs played in Chicago blues clubs don't necessarily have 12 bars. Many of Chicago's blues singers are also R&B and/or rock singers, and Zora Young is a prime example. Based in Chi-Town but originally from Mississippi, the expressive singer provides an enjoyable, if derivative, blues/soul/rock mix on her 2000 date Learned My Lesson. Young is far from a blues purist - while "My Man's an Undertaker" and Young originals like the humorous "Pity Party" are straight-up urban blues, she confidently detours into soul and rock territory on "Girl Friend" (another Young original) and sweaty performances of Ike & Tina Turner's "Nutbush City Limits" and Chuck Berry's "Living in the U.S.A." Meanwhile, Young draws heavily on her gospel background on a passionate version of Percy Mayfield's "Please Send Me Someone to Love"…

More offerings from Eno, Moebius, Roedelius, Plank, and Neumeier, Begegnungen II is the equivalent of its predecessor. The tracks on the compilation (recorded in 1976-1983) are an appealing mix of artsy electronic ambiance and progressive Krautrock. Eno's mechanical "Broken Head" stands out as the only vocal track - a dark, almost oppressive industrial tune not unlike early Gary Numan, but warmer. "Speed Display," originally recorded for Moebius, Plank, and Neumeier's Zero Set, is a fantastic showcase for Mani Neumeier's speed and endurance as a percussionist. He generates an incredible rhythmic groove, supplemented by sparkling synthesizer flourishes. Roedelius shines with two contributions to the set…

Made in England is the fourth album by British rock band Atomic Rooster. Although previously known for generally having a progressive rock style, this album saw the band moving in more of a funk/soul direction, largely influenced by new singer Chris Farlowe. Apart from founder member Vincent Crane, the album was recorded by an entirely different lineup to that of the band's prior effort, In Hearing of Atomic Rooster. Previous members John Du Cann and Paul Hammond had departed in protest at Crane's intended new musical direction.

Earth and Fire are legends of the Dutch rock scene, first making an impression with their debut single in 1969. They quickly established themselves as an international act thanks to the excellence of their material and the powerful vocals of Jerney Kaagman. In 1971 the band released arguably their finest work, 'Song of the Marching Children', a Mellotron soaked masterpiece that was a major selling album throughout Europe.

If you're a jazz fan in the Ann Arbor area, you know Paul Vornhagen. The saxophonist-flutist-pianist-singer has been a mainstay in the area for 40 years as the leader of his own bands as well as Tumbao Bravo while also playing with The Lunar Quartet, Kozora Quartet, and a few world-music-leaning ensembles.

Seven years after the unprecedented ECM debut, Nothing Ever Was, Anyway, and three years after the stellar Amaryllis, pianist Marilyn Crispell gives listeners another trip down her ever deepening cavern of mystery and imagination. Teamed once again with drummer and composer Paul Motian and new bassist Mark Helias, Crispell builds an even sturdier tension bridge between her increasing focus on harmonic and melodic interplay and dynamic intensity. The polarities are the immediate way into this set, which is so full of ambiguities and spectral presences one could say it is haunted. Crispell's physicality is held in check for most of the proceedings here, but it is ever present. There is a tautness to these performances that is held firmly by the steady, sinewy rhythmic direction of Helias (who contributed two fine tunes to this set)…

John Hiatt's highest-charting album yet is a step down from the dizzy heights of Bring the Family and Slow Turning, as he abandons his more acid commentaries and turns in a self-deprecating set full of promises of reformation and celebrations of marriage and family life. But the observations remain acute, and Hiatt's singing (so much camouflaged in his early days) is becoming his secret weapon.

This recording of Handel's Acis and Galatea (or Acis und Galatea) features the German translation and arrangement completed by Mozart in Vienna circa 1788, per the instructions of the Baron Gottfried von Swieten to "modernize" Handel's pieces - including Alexander's Feast, Messiah, Ode for St. Cecilia's Day, and Acis and Galatea. Mozart kept much of Handel's original string arrangements, but proceeded to layer harmonies with a degree of sophistication that Handel could only have dreamed of.

Whether or not by the teenage Handel, these trios are eminently worth exploring. Oboe sometimes dominates violin, but Convivium are full of with and verve in allegros, with slow affective movements - the opening of No. 8 is magical.

By now, fans of this mezzo probably have realized that she could sing the telephone directory and make it sound both beautiful and meaningful. This CD is made up of music by Respighi, Ravel, Britten, Schulhoff and Shostakovich: in other words, songs in five languages from five countries. Unlike most song recital CDs, variety is also supplied by the accompaniments. The Ravel songs are backed up by flute, cello and piano, while the Schulhoff selections feature violin and piano, the Shostakovich and Britten are for piano alone, and the Respighi includes a string quartet. The whole CD is fascinating, but the lengthy Respighi cantata "Il tramonto" ("The Sunset," to a poem by Shelly) is a sensational centerpiece: just lovely, with hints of Straussian and Wagnerian harmonies.