A posthumous collection produced by Rita Marley, based on work left behind by Bob upon his death. Some of his best post-Wailers work is here, with songs like "Buffalo Soldier," "Chant Down Babylon," and "Blackman Redemption." Given that he wasn't alive to do the production that he usually helped in, this album seems remarkably true to the general vision of Bob Marley's albums. Other somewhat lesser-known tracks also help to fill in all of the cracks with some remarkable material. Case in point: "Jump Nyabinghi," a nice danceable groove with perhaps less of the usual politics mixed in, but with just as much musicality. Overall, any Bob Marley fan ought to own this album. For the uninitiated, Legend is always the starting point, but, after that, this may not be such a bad choice for additions to the collection.

The title of the Alvin brothers’ follow-up to their Grammy-nominated 2014 Common Ground reunion project that found them working together for the first time in 30 years is multi-faceted and bittersweet. Clearly they are trying to make up for that lost time after not working together since Dave amicably left the Blasters in 1987. But more than that, these dozen covers are predominantly tunes that were also lost to time. Phil and Dave dig deep to reveal these hidden blues and R&B gems, then polish, rearrange and unleash them with pent up energy, providing the tracks with new leases on life. Dave’s short yet informative liner notes explain the disc is also a tribute to ’50s blues shouter and Alvin brothers friend Big Joe Turner, whose photo adorns the back cover. Four tracks are Turner covers and it’s no secret that much of Phil’s distinctive singing style dates back to that of Big Joe. But from the opening guitar and walking bass lick of Oscar Brown, Jr.’s demonic “Mr. Kicks” to the closing acoustic gospel of “If You See My Savior” (one of the few times both guys sing on the same tune), it’s clear the brothers are having a blast reviving songs they obviously love and have influenced them for decades.

Basil Poledouris has always thrived amidst the carnage of the action film. Known primarily for his excellent work on Conan the Barbarian, Starship Troopers, The Hunt for Red October, and the television miniseries Lonesome Dove – for which he won an Emmy – some of the composer's best work can be found on the soundtrack to Paul Verhoeven's 1987 sci-fi revenge romp, Robocop. Capitalizing on the film's anti-corporate undercurrent, Poledouris weaves a larger than life score for an unlikely hero, offering a heroic theme that paints Peter Weller's tragic, disfigured Detroit cop in a savior's light. Like Danny Elfman's score for Batman, the tone is dark, oozing metropolitan seediness awash in midnight rain. When the theme is reduced to a quiet lament, like on the masterful "Betrayal," the composer's love for his protagonist is evident, an element that's sadly missing from many of the genre's original scores. Varese Sarabande's 2004 reissue includes four bonus tracks.

Bob Dylan - The Freewheelin' Bob Dylan (1963). It’s the album the ignited sea changes in pop culture, music, songwriting, poetry, and the social consciousness. It’s the creation of a 22-year-old visionary still years away from casting a jaundiced eye to the media. It’s the sound of change, the feeling of ground shifting beneath one’s feet, and the entrance of an entirely new way of thinking. It’s the effective beginning of what’s arguably the boldest career in music history, the yawning vortex into the complex mind, supernatural wordplay, and folk techniques of a vocalist/guitarist whose name is forever associated with transformation. It’s The Freewheelin’ Bob Dylan.
Exponentially surpassing the potential he demonstrated on his debut, Dylan became a mirror of the concerns, issues, and feelings confronting the nation…

James Cotton's third solo release on Telarc, Baby, Don't You Tear My Clothes picks up where 35th Anniversary Jam of the James Cotton Blues Band left off. The strongest of these 13 tracks find Cotton and associates digging back to the '30s for inspiration: Doc & Merle Watson assist on Leroy Carr's "How Long Blues," "Stealin' Stealin'" with Dave Alvin, "Key to the Highway" featuring Odetta, and a bluesy take on the Jimmie Rodgers country standard "Muleskinner Blues." This is mainly a mid-tempo, laid-back session with plenty of Cotton's harp virtuosity, which shines brightest on the instrumentals "Coach's Better Days," "Blues for Jacklyn," and "Friends." Also making contributions to the album are Peter Rowan, C.J. Chenier, Rory Block, Jim Lauderdale, and Marcia Ball…

Heaven & Earth is the first Yes album featuring new singer Jon Davison along with bassist Chris Squire, guitarist Steve Howe, drummer Alan White, and keyboardist Geoff Downes and follows on the heels of the successful and acclaimed 2011 release, Fly From Here. This album was produced by Roy Thomas Baker (Queen, The Who, The Rolling Stones, David Bowie, The Cars, Foreigner, Journey, Cheap Trick etc.)

The ensemble's latest recording of Mozart string quartets left critics agog: "I doubt that these particular works have ever been recorded with such astonishing command as by the Hagen Quartett. The players' corporate intonation is almost impossibly true . . . A disc whose rare brand of perfectionism is rather special." (CD review by Julian Haylock, The Strad)

Liszts Études represent a peak in the history of piano writing. Beyond the tremendous technical difficulties, Liszts Études are poetic works, études tableaux, suggesting programme music influenced by literature, painting, and folklore as can be identified by titles such as Mazeppa, Wilde Jagd, Gnomenreigen or Feux follets. Similar to Schumann, Liszt added those lyrical appellations as an afterthought to stimulate the fantasy of both the listener and the performer, thus paving the path to modern piano playing as we know it today.

The long life of Don Pietro Gnocchi remains largely a mystery. We know the precise periods during which he worked at the Cathedral in Brescia, first as Maestro di Cappella, from 16th June 1723, and then as organist, from 10th April 1762 until his death; but apart from this, biographers seem to have simply passed back and forth what little information they possessed without reference to its source. As such, may aspects of his musical life are still to be determined: his early musical education in Alfianello and Bresica, the subsequent move to Venice and the Basilica of St. Marks, pupil of a Maestro di Cappella, and the exhausting travelling to the courts of Europe where he was very highly acclaimed, together with his "trusty companion, excellent player upon the violin.”