This was Jimmy's best selling album ever but the title is very misleading in that these are all studio recordings, not live recordings, which means they weren't recorded at Carnegie Hall, but the tracks are in the order he performed them at a Carnegie Hall concert one week prior to recording the first dozen in the studio of this double album. This is actually the first time all of the original master tapes of this album were used as the songs recorded in mono were on all previous issues in rechanneled stereo while the true stereo tracks on this disc have always been in true stereo on every release. Steve Hoffman searched high and low for the first generation tapes of each song on the album in the Vee Jay vaults and as a result, Audio Fidelity has issued the definitive release of the album. Audiophiles and casual blues fans who like quality sound must pick up this issue of Jimmy Reed At Carnegie Hall as it contains most of his biggest hits in the best possible quality sound due to the work of Steve Hoffman.

For a band that rescued rock & roll from the Uriah Heeps of the world in the late '70s, and made a mark on everything that followed, the Sex Pistols left behind precious little in terms of their recorded legacy. Their only official release being the earth-shattering NEVER MIND THE BOLLOCKS, enthusiasts have to turn to collections of outtakes and live material to further satisfy their Pistols jones. This brings us to the mysterious NO FUTURE U.K.

In 1970, Ashton, Gardner & Dyke somehow ended up supplying the soundtrack music to an obscure Western starring football star Joe Namath. Also important to the soundtrack's composition and performance was Deep Purple's Jon Lord, who co-wrote the score with Tony Ashton and shared keyboard parts with Ashton as well. Like many soundtracks, it's a jumble of pieces that might have served adequately as background music to specific scenes, but doesn't sustain much interest for a record listener. The musicians tap into a wide variety of styles and moods, mostly instrumental with occasional vocals, from good-time laid-back bar band boogie and dramatic pseudo-spaghetti Western orchestrations to atonal keyboard patterns, tedious hard rock-funk, and Latin cocktail jazz with bizarre scatting. The individual tracks, though, are neither too good on their own, or too similar to each other, failing to create an inviting mood.

Nicolai Lugansky’s solo disc debut for Erato is more than just another recording of the Chopin etudes by a new virtuoso on the block. He’s got fingers, to be sure, but also a mind, an ear, and more than a little imagination. The pianist guides Op. 10 No. 1’s arpeggio sequences with a pliable, singing bass line, and offsets Op. 10 No. 2’s murmuring right-hand 16th-notes with intelligently shaped left-hand chords. Similarly, your ear gravitates more toward Op. 10 No. 7’s playful left-hand accents and dynamic jolts rather than to Luagnsky’s suave dispatch of the right hand’s rapid double notes.

Soprano Barbara Hannigan has become something of a cult favorite with her deep dives into specific and unusual repertories. Her self-presentation in concert is unorthodox and marked by full-scale efforts to communicate the essence of the music at hand, in works ranging from Berio to Gershwin. So it is with this set of songs from the decade and a half on either side of 1900 in Vienna. The enjoyment begins with the physically passionate cover, an example of her way of personifying the music's spirit. Hannigan's is an utterly distinctive voice, edgy and coruscating, and she knows how to tone down her considerable virtuosic powers to the dimensions of the music, such as that here, intended for small rooms.

Ian Gillan, together with Robert Plant, Ozzy Osbourne and a few others, is considered one of the legendary voices that shaped hard rock. Despite his commitment to Deep Purple, the singer has built an impressive solo career. "Contractual Obligation" is a collection of performances during a recent tour through Eastern Europe, which contains three shows which will be released on different formats via earMUSIC on July 26, 2019.

Upon reforming and releasing their fourth successful album as a band, 'Back And Fourth', Lindisfarne recorded and released their final album with label Mercury Records, The News. This album is great not so much for what it tells us but for what it doesn't tell us - the inkling of stirring trouble, of future unrest and impending doom. At the time of recording, trouble within the band and around the world influenced the writing of this album. Lindisfarne were more on the pulse of the world than they intitially thought. Lindisfarne are an English folk rock band from Newcastle upon Tyne established in 1968. The original line-up comprised Alan Hull (vocals, guitar, piano), Ray Jackson (vocals, mandolin, harmonica), Simon Cowe (guitar, mandolin, banjo, keyboards), Rod Clements (bass guitar, violin) and Ray Laidlaw (drums). With a repertoire of unforgettable songs and a reputation for live performance second to none, Lindisfarne's power to galvanise festival…

Ringo Starr anchored the Beatles with a smile and a thundering backbeat, qualities he'd never lose during the group's heyday and has held onto throughout his long solo career. As a drummer, his unconventional parts were a defining compositional feature of the band's sound and his laid-back charisma endeared him to fans, especially during their early days. While John Lennon, Paul McCartney, and to a lesser extent, George Harrison, served as the band's frontmen, Starr enjoyed his share of the spotlight.

Islands is the 2020 album by contemporary Prog giants The Flower Kings, with artwork by Roger Dean.
Roine Stolt presents 92 minutes of of dazzling music with an FK line-up featuring Hasse Fröberg, Zach Kamins, Jonas Reingold, Mirko DeMaio and special guest Rob Townsend.
Due to the Covid-19-pandemic the album comes out quite a bit sooner than originally planned as Roine explains: “All shows and festivals were cancelled and the future didn’t really ‘unfold’ itself like we had hoped. To sit out the pandemic with no activities was not an option for us. We cannot be stopped by an evil virus. With members living in the USA, Italy, Austria and Sweden the only way was to use the magic of the ’net’ sending files and start building, what now became, a double album of 21 songs.”

Chandos’ featured release is a new recording of the first English operatic masterpiece, Purcell’s tragedy Dido and Aeneas. Starring Sarah Connolly, Gerald Finley, with the Orchestra and Choir of the Age of Enlightenment, it is released to commemorate the 350th anniversary of Purcell’s birth.

Recorded originally for Clearwater's own Cleartone label and later leased to Ron Bartolucci's Baron imprint, these late-'70s sides were potent indicators of his maturing blues style. These weren't homemade sessions; all-star sidemen include drummer Casey Jones, guitarist Jimmy Johnson, and saxist Abb Locke. The title cut is a blistering Chuck Berry-styled rocker, "Came Up the Hard Way" displays a firm grasp of the West Side sound, and "A Little Bit of Blues, A Little Bit of Rock & Roll" utilizes a funky groove to foot-stomping advantage.

Dark places can be foreboding, and also comforting or beautiful if put into proper context. Trumpeter Tomasz Stanko has always used introspection as a means for making his music, but on this recording he's all but snuffed out the candlelight, inspired by the wispy smoke that trails to the ceiling. During the 2000s he retained a regular working band of very young musicians, and for Dark Eyes he's formed a new band of promising up-and-coming players from Northern Europe, with instrumentation modified from the piano/bass/drums backup trio. The very subtle Danish guitarist Jakob Bro (from Paul Motian's band), multiple competition prize-winner Finnish pianist Alexi Tuomarila, Danish electric bass guitarist Anders Christensen (ex-Ravonettes and Motian), and drummer Olavi Louhivuori (also an accomplished pianist, violinist, and cellist) from Finland are all new names to the ECM family…

The calmer inner meditations of Erasure behind them, the duo found themselves on Madonna's label in America and released the notably more upbeat Cowboy in 1997. The zeitgeist that the duo perfectly encapsulated in the late '80s had long been left behind, resulting in an album that sounds like it wants to keep the party going when all the guests had long gone home. While Erasure itself could drag here and there, it was still an honestly intriguing combination of new and old for the band, something the pleasant (but little more than that) Cowboy can't claim. At base, the problem is that while the basic Erasure knack of hummable hooks and fine singing remains unchanged, something seems missing - what made songs like "A Little Respect," "Stop!," and "Chorus" more than enjoyably catchy pop isn't there…