Blind Dog at St. Dunstans is the seventh studio album by Canterbury Scene rock band Caravan. It was released in 1976. This album has a lighter feel than Caravan's previous releases, shifting toward shorter, "poppier" songs. The lighter feel is due in part to the prominence of Pye Hastings on the album. He wrote and sang eight of nine songs. Moreover, Jan Schelhaas had replaced Dave Sinclair on keyboards, moving away from lengthy organ-based instrumentals toward piano and synthesizer.

Although based in the hard bop tradition, altoist Eric Kloss was always open to the influence of the avant-garde. This stimulating session features Kloss, guitarist Pat Martino, keyboardist Ron Thomas, bassist Dave Holland, and drummer Ron Krasinski really stretching out on Carole King's "It's Too Late," "Licea," and the three-part "One, Two, Free." Eric Kloss pushes himself and his sidemen throughout the date, and even if the Fender Rhodes sounds a bit dated, the high musicianship and chance-taking are still exciting to hear.

Future Legends (1973). Originally released in October 1973 on Pye's Dawn label, Future Legends was the debut release by these Northern Irish Progressive Rock masters. A wonderful exercise in Symphonic and Melodic rock, the album was highly acclaimed upon release launching the band on a live career that saw them share the bill with such luminaries as Genesis (with whom they were often compared). Future Legends is now remastered from the original tapes and includes the track 'On a Clear Day' which only featured on the first 100 copies of the album…

"iPop" (written & produced by dance duo Shelter) is Andy Bell’s (Erasure) 3rd solo album after Manhattan Clique's "Electric Blue" and Pascal Gabriel's "Non-Stop". The album was written and recorded by Shelter - and released on their Ministry of Pop label - but includes two tracks (‘Stars’ and ‘Electrostatic’) which were written in collaboration with Andy Bell, and one track, "Lift Me Up", which also features Vince Clarke (Erasure, Yazoo, Depeche Mode).

Drummer/label head Pat Ford reunited with Charlie Musselwhite and brought along brother Robben Ford on guitar, producing this return to form. Musselwhite is up to the task in all departments – singing, playing (great tone), and especially songwriting (the title tune and "Seemed Like the Whole World Was Crying," inspired by Muddy Waters' death) – but it had been a while since Robben Ford had played low-down blues (touring with Joni Mitchell, putting in countless hours in L.A. studios), and it may have been wiser to give the guitar chair to Tim Kaihatsu, who by this time had seniority in terms of hours on the bandstand with Musselwhite, above any other Musselwhite alumnus. Pianist Clay Cotton is in fine form. This time out, the deviations (to be expected by now) include Don & Dewey's "Stretching Out," an impressive chromatic harp rendering of "Exodus," and Musselwhite's solo guitar outing, "Baby-O." Easily Musselwhite's best-engineered album yet (nice job, Greg Goodwin).

In the course of his illustrious career, Fabio Biondi has nurtured a remarkable empathy with Italian music from across many centuries, but strikingly so with the early Baroque violin sonata repertory, the development of which was dramatically propelled into the future by Arcangelo Corelli with his Op 5 collection. It is this empathy possessed by Biondi which has inspired the Accademia Nazionale di Santa Cecilia in Rome (from its bowed instrument collection) to make him a loan of the precious 1690 “Tuscan” violin made by Antonio Stradivari, for this Glossa recording.

When in 2003 the 250th anniversary of the Residenz-Theater in Munich was to celebrated, it was decided to perform the same opera which was performed at the opening of the theatre in 1753: Catone in Utica by Giovanni Battista Ferrandini. That was a bold decision, as Ferrandini is not exactly a household name in our time. He isn't a completely unknown quantity, though; his lamento 'Pianto di Madonna' was once attributed to Handel. It is perhaps due to this misattribution that it was ever recorded.

The Carpenters were one of the more ubiquitous and successful acts of the early and mid-'70s. Songs like "Close to You" and "Rainy Days and Mondays" make the shortlist of pop classics of the '70s. Unfortunately, their 1973 retrospective, 1969-1973, might have wrapped up their commercial careers too soon. This 1975 effort seems to be willing to explore sad emotions with the blithe songs appearing almost as an afterthought. Although it would sound the death knell for many efforts, with Karen Carpenter's pitch-perfect and sorrowful voice, it's actually a nice fit, and an emphasis on the duo's subtext. The beautifully arranged "Aurora" sets the album's ambience. "Eventide," a continuation of the melody and theme, shows up later in the album…

The first solo release by contemporary blues-based artist Keb Mo' mixes a reverence for traditional country blues with more streamlined elements of commercial pop. Keyboards, bass and drums (in addition to Keb Mo's contributions on guitar, harmonica and banjo) flesh out breezy soul-inflected pop such as "She Just Wants To Dance" and the island flavored "Tell Everybody I Know." Though gears continue to shift, from organ-drenched gospel to hillbilly lite, Keb Mo' brings things back to the source with inventive homages to the blues altar, such as in his re-casting of two Robert Johnson songs.