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.

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.