Looking For The Words: Live at the U of H Coffee House features Guy Clark performing solo acoustic versions of early originals and illuminating covers Let’s travel back to October 30, 1970: A week before his 29th birthday, Guy Clark is performing on the University of Houston campus. Back in his home state after a short stint in California, Clark is still a couple years away from moving to Nashville, where his career as a songwriter would flourish. On this night, he delights a small coffeehouse audience with 12 original songs plus a half-dozen covers. And, as it happens, a reel-to-reel tape recorder is running. The tape was lost until 2021 when the opening act for that night, John Kunz, found the tape stuck in a cavity behind a storage tray.

German conductor Otto Klemperer attended the Hoch Conservatorium in Frankfurt-am-Main, studied violin and piano at the Klindworth-Scharwenka and Stern Conservatories in Berlin, and composition with the German composer Pfitzner. He made his début in Berlin in 1905, where he conducted fifty performances of Offenbach's Orpheus in the Underworld, not a work that would now be identified with Klemperer's serious and profoundly personal approach to music. Shortly afterwards, he visited Gustav Mahler in Vienna and impressed the composer by playing a scherzo from a Mahler symphony by memory at the piano. With Mahler's personal recommendation, Klemperer was appointed choirmaster and conductor at the German Opera in Prague.

Daniel Barenboim is a conductor and pianist of top international stature, known for an extraordinarily large orchestral and operatic repertoire. He is the general music director and chief conductor for life of the Staatsoper Berlin in Germany. Barenboim was born in Buenos Aires on November 15, 1942, into a family of Ukrainian Jewish descent. His mother was his first piano teacher. He later studied with his father, Enrique Barenboim, who was an eminent music professor. After playing for the noted violinist Adolf Busch, who was impressed by his talent, Daniel made his debut recital at the age of seven. In 1951, he played at the Mozarteum in Salzburg and observed Igor Markevitch's conducting class.

The Gramophone Award-winning Silesian Quartet present a double-album of the complete works for string quartet by compatriot Henryk Gorecki. All three of his numbered string quartets were written late in life – the first in 1988 – and all three were commissioned by the Kronos Quartet. The First Quartet is a single-movement work, based on a sixteenth-century song by Wacław of Szamotuły. The Second, double the length of the First, is subtitled ‘quasi una fantasia’ and follows a classical four-movement form, subtly referencing Beethoven. Gorecki completed the Third Quartet (double the length of the Second!) after the Symphony of Sorrowful Songs had catapulted his music to much wider acclaim. It extends to five movements and is considered by many to be one of his greatest compositions. In the 1980s and 1990s, Gorecki composed several collections of choral songs. Five Kurpian Songs is based on folksongs from Kurpie, a region north-west of Warsaw. The composer himself suggested that these works would be effective when performed by a string quartet, and here the Silesian Quartet gives us the world premiere recording of that version.

Slade Alive, Vol. 2, like all live Slade, is searing. Unfortunately, it was released into a void in 1978. Now well past having a U.S. record deal, and with no one in England really interested, Vol. 2 came out on Barn, not exactly a major player in the record business. The album is excellent, both in terms of performance and sound quality. They also did a great job of selecting material for this disc. A nice balance of classics (all Top Three singles in their day) and newer material that hadn't really been heard before. The album kicks off with a devastating version of "Get on Up" from Nobody's Fools. This version not only smokes its predecessor, it is the epitome of the Serious Heaviness. Slade has by this point developed into a full-fledged heavy metal band while retaining everything that made them great in the first place.

Survival is Grand Funk Railroad's fourth studio album and was released in April 1971 by Capitol Records. It was produced by Terry Knight. The bonus tracks on the 2002 reissue labeled "Original Version" have extended sections and extra lyrics compared to the tracks as released on the original LP. "Feelin' Alright" is a different take of the song, as heard by the different inflections in the lead vocal, placement of the instruments in the stereo mix, and musical differences in the playing. Additionally, a third verse is included that is not in the LP version.

Sir Neville Marriner thins out the usual ASMF textures and leads vigorous, stately accounts of both the Water Music Suites and the Music for the Royal Fireworks. The playing is snappy, the feeling of dance-inspired animation just right. This is the ideal compilation, presenting both scores complete; and the sound is open, well balanced, and extremely well defined.

Giulio Cesare in Egitto (Julius Caesar in Egypt, HWV 17), commonly known simply as Giulio Cesare, is an Italian opera in three acts written for the Royal Academy of Music by George Frideric Handel in 1724. The libretto was written by Nicola Francesco Haym who used an earlier libretto by Giacomo Francesco Bussani, which had been set to music by Antonio Sartorio.

Bela Bartok was indisputably one of the 20th century's greatest composers; and his very modern approach, leavened with the rhythms of his native Hungary's folk music, are to be found on this recording that pairs his complete 1924 ballet "The Miraculous Mandarin" with his 1936 "Music For Strings, Percussion, & Celesta."

Diese beiden Veröffentlichungen sind der Beginn einer exklusiven Herbig-Reihe auf Berlin Classics. Günther Herbig, der seit 2001 das Rundfunk-Sinfonieorchester Saarbrücken leitet, wird seine Tätigkeit dort in diesem Jahr beenden – ein Anlass mehr, seine besten Aufnahmen und Mitschnitte auf CD zu veröffentlichen.

This disc brings together Marcus Garvey, Burning Spear's debut album, with its dub counterpart, entitled Garvey's Ghost. The resulting package is one of the pillars of roots reggae, an album packed with thick, heavy grooves and uncompromising religious and political messages. Although this Mango reissue has been criticized as sonically weaker than the Jamaican original, it will sound plenty dread to all but the most critical ears. Songs like the title track, "Slavery Days" and "Give Me" (with its remarkably well-integrated flute part) all tremble with the intensity of Winston Rodney's dark voice, and some of the dub versions (in particular "Black Wa-Da-Da," based on "The Invasion") number among the most frightening ever created.

Perhaps realizing that The Juliet Letters was one step too far, especially after the willfully eclectic pair of Spike and Mighty Like a Rose, Elvis Costello set out to make a straight-ahead rock & roll record with Brutal Youth, reuniting with the Attractions (though Bruce Thomas appears on only five tracks) and Nick Lowe (who plays bass on most of the rest). Unfortunately, all this nostalgia and good intentions are cancelled by the retention of producer Mitchell Froom, whose junkyard, hazily cerebral productions stand in direct contrast to the Attractions' best work. Likely, Froom's self-conscious production appealed to Costello, since it makes Brutal Youth look less like a retreat, but it severely undercuts the effectiveness of the music, since it lacks guts, no matter how smugly secure it is in its tempered "experimentation."

Strata-East: The Legacy Begins celebrates the revolutionary spirit of one of the most influential artist-owned independent jazz labels in history. This anthology, a partnership between Mack Avenue Music Group and Strata-East Records, brings together iconic tracks that embody Strata-East’s commitment to artistry and creative freedom. Featuring the explosive brilliance of Charles Tolliver and Stanley Cowell, the soulful expressions of The Heath Brothers, Charlie Rouse, Shamek Farrah, Pharoah Sanders, and more, the collection showcases cult classics from the label’s deep catalog while honoring the extraordinary artists who shaped its legacy. This release not only marks the launch of the partnership between Strata-East and Mack Avenue Music Group but also delivers the label’s highest-quality audio anthology, transferred directly from the original master tapes and available digitally for the first time. A reflection of Strata-East’s dedication to spiritual jazz and social consciousness, this compilation invites listeners to rediscover classics or experience them anew. Strata-East: The Legacy Begins celebrates the timelessness of this music while marking the start of an exciting new chapter.

Some forty years into one of music’s most impactful, sometimes tense and yet curiously enduring partnerships, Tears For Fears have finally arrived together at The Tipping Point – the group’s ambitious, accomplished and surprising first new studio album in nearly two decades. And now, at very long last, Tears For Fears find themselves back in peak form at The Tipping Point, an inspired song cycle that speaks powerfully and artfully to our present tense here in 2021. This is an album that vividly recalls the depth and emotional force of the group’s earliest triumphs. Imagine a far more outward-looking take on TFF’s famously introspective 1983 debut album The Hurting set in an even more mad world, or 1985’s Songs From The Big Chair bravely confronting even bigger issues in our increasingly unruly world. Or even 1989’s The Seeds Of Love that sows a mix of love and other emotions. The Tipping Point is the bold, beautiful and powerful sound of Tears For Fears finding themselves together all over again.

In 1971 the ever-evolving Soft Machine entered yet another period of transition following the departure of one of their founding members, drummer Robert Wyatt five months after the release of their Fourth album in February 1971. His replacement was Phil Howard, who had come to the UK along with a wave of other top-drawer players from Australia and New Zealand in the 1960s and was part of Elton Dean’s group, Just Us. Whilst this decision may have been born out of necessity, Howard's arrival was a boost to Dean’s desire to move to a looser mode of expression, something he'd been doing since Fletcher’s Blemish (from Soft Machine’s Fourth) and their live blow-out, Neo Caliban Grides, which had been opening live shows of the day to startling effect.