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.

I don't know what to say about one of the more famous bootlegs of all time that has not already been said. 1961-1966. The front cover says: "The only definitive collection! 10 record set over 8 hours of music. 134 previously Unreleased tracks" This set has yet to be bettered in sound quality, even by some of the CDs that contain the same material. The cover on this great 1985 box set is simple but effective. A grainy looking black and white shot of Bob with all of the songs listed on the front. Each of the 10 LPs have deluxe full printed labels, and come in deluxe anti-static sleeves
The Label is Tarantula. The folks behind the Label were the best in the business. They released only the highest quality pieces in fantastic major label quality covers. One trick to spotting their work is by the name of the Label. The name of the Label was different for each artist they released, and had some tie-in with the artist that usually only a hard-core fan would recognize (i.e. Tarantula) All albums are pressed on high quality vinyl, and have full printed labels. All recordings are the best that were known to exist.

Track 1. Spiders (Kidsmoke) is an exclusive track. Included with the March 2025 issue (TAKE 336) of Uncut magazine.

Garcia still works wonders on the guitar. His obbligato behind rhythm guitarist Bob Weir's vocal on the gun-fighter ballad, "El Paso," ranged from flamenco figures to blues lines. The latter created a humorous and musically interesting mixture. Slipping around the sunny Mexican-American rhythms were the riffs and diving glissandos of a music that grew up among the chilly winds of Chicago. - Cliff Radel, Enquirer Pop Music Critic. The vocals and instruments blended perfectly into one cohesive unit. The artists themselves seemed to enjoy playing and the concentration they commanded was unshakable in the fan-filled Coliseum. - Douglas Fechter, The NewsRecord Cincy, The Nati, Paris Of America, call it what you will but when the Grateful Dead came to town, they certainly helped propel her to "Queen of the West." The previously unreleased complete show from the Riverfront Coliseum, Cincinnati, OH 10/2/76 is all up from start to finish with xxx 70s-era first set songs like "Promised Land" and "El Paso" to Europe '72 staples and classic covers ("It's All Over Now," "Big River"), wrapped up with a unique second-set jam that opens with "Dancing In The Street" and closes with "Sugar Mag." An all-around good time! Limited to 25,000 numbered copies and shipping this week, DAVE'S PICKS VOL. 53: RIVERFRONT COLISEUM, CINCINNATI, OH 10/2/76 was recorded by Dan Healy and has been mastered to HDCD specs by Jeffrey Norman at Mockingbird Mastering. P.S. As a bonus, we have a quintet of songs from 5/4/77 (recorded by Betty Cantor-Jackson), the rest of which was featured on Dave’s Picks Vol. 50 and its Bonus Disc. As we mentioned in 2012 when this series started, we’re determined to provide complete shows whenever possible. And even when a show is only partially included on a release as bonus material, we’re happy to complete it later on down the line, as we’ve done here. We hope you dig it. - David Lemieux

This excellent 250-track anthology contains many tracks originally recorded in the Fifties and early Sixties that would be picked up on by bands all over the world and are still being performed today. The originals have a glamour all of their own, having been recorded in the country where rock and the blues had their birth.

Beatles covers are a dicey proposition at best. Even the most ingenious and unique rendition seems destined to suffer in comparison to the original, and the potential for failure is virtually limitless – either way, it's an idea as sound as remaking Citizen Kane with Pauly Shore in the title role. And yet artists are drawn to the Lennon/McCartney songbook like bees to honey, their desire to cover these songs best likened to a creative death wish – We Can Work It Out assembles 16 of these kamikaze missions, and believe it or not, despite the inevitable wreckage there's also a handful of survivors. Setting loose these familiar songs in jazz and funk modes far removed from the Beatles' original recordings enables greater room for personalization and innovation, and the artists featured here are hardly slouches, either – Ike & Tina Turner (who know a thing or two about making covers their own – ask John Fogerty) deliver a gritty, low-down version of "Come Together," Stevie Wonder invests "We Can Work It Out" with the boundless optimism and sensitivity of his own music, and Earth, Wind & Fire update McCartney's Motown tribute "Got to Get You Into My Life" in accordance with the updated rules of the soul handbook. A bonus-mix CD courtesy of 4hero's Marc Mac rounds out a set far better than it has any right to be. (AMG)

All Time Classic Rock 'N' Roll Tearjerkers, a Various Artists Compilation. Released 2003 on Warner Strategic Marketing.