Remember this is a bootleg album and therefore the sound is not to the highest standards that you would expect from a major record label, but it is authentic and original.

By the mid-'70s, Arthur Brown had spent some six years operating so far below the radar that many people who remembered his "Fire" chart-topper could easily be excused for thinking he'd vanished altogether. Of course, aficionados knew he'd been busy elsewhere, scouring the progressive underground with Journey and Kingdom Come, and fans of those projects were nonplussed indeed when Brown suddenly reappeared in the mainstream, turning up on the Saturday morning British TV pop program Supersonic to plug his latest single. Resplendent in gold wellies, Brown drew the Animals' "We Gotta Get Out of This Place" to new heights of dementia - the single itself was ultimately a flop, but the performance was killer, and all ears were open for the album that followed, Dance…

At the time of the release of Think (About It) in 1972, Lyn Collins had been a member of James Brown's performing revue for about two years. Her full-throated voice had earned her the nickname "the Female Preacher" and a shot to record her own album. Of course, the Godfather was in the producer's chair, writing four of the nine tracks, directing the J.B.'s as they laid down their usual funky grooves, and liberally adding vocals throughout. The title track is the main point of interest here; from Collins' throat-ripping vocals to the track's nasty groove to Brown's background interjections, this is a killer. (Rob Base & DJ E-Z Rock later sampled the track for their rap classic "It Takes Two"). The rest of the record is a little uneven: "Just Won't Do Right" is a good doo wop-ish ballad with some churchy organ and great vocals by Collins and Brown, "Wheels of Life" is a nice little groover that sounds like vintage Aretha Franklin, and "Women's Lib" is a very slow ballad that lets Collins show off her anguished yowl of a vocal to its fullest.

This double CD contains 29 live Compay Segundo performances. The first CD contains a conversation with Compay about his childhood and what he feels about his music. This is the original Spanish. The CD split into "club" concerts and "theatre" concerts.

Carl Friedrich Abel was known in 18th-century London as the greatest gamba player of his day. Having been taught in Leipzig by JS Bach, Abel later worked closely with ‘the London Bach', Johann Christian, and his own music shares a quality of liminal fantasy with that of his friend, poised as they were (in retrospect) on the threshold of the Baroque and Classical eras.

The definitive reissue of Terry Riley’s pioneering works for Columbia Masterworks. This deluxe 4-CD box set from Sony Music brings together the seminal Columbia recordings of Terry Riley, a visionary composer whose influence on minimalist and electronic music continues to ripple through generations. Thoughtfully presented with archival materials, this collection offers an essential document of Riley’s most transformative period when the pulse of innovation met the possibilities of high-fidelity sound. This box set is more than a collection of recordings it is a rare window into a time when the avant-garde found a home in major-label studios and groundbreaking artists like Riley were given space to explore uncharted sonic territory. From his mesmeric electric keyboard and saxophone improvisations to his pioneering use of analog tape delay, every track here pulses with the spirit of experimentation. Starting with the original 1968 recording of In C, captured at Columbia’s legendary 30th Street Studio, by revered engineer Fred Plaut, the set includes four seminal works by Riley that helped shape not only the minimalist movement but much of the late 20th century avant-garde landscape.

With Living Being IV: Time Reflections, Vincent Peirani and his quintet present a workdeeply rooted in the reflection and musical exploration of time. Composed of Émile Parisien, Tony Paeleman, Yoann Serra and Julien Herné, this new project invites us to explore a sound where each note is imbued with the complexity and nuances of therhythm of life.Born in the particular context of the first months of the Covid pandemic, this record isthe fruit of a moment of forced pause for Vincent Peirani, a break in his daily life that led him to meditate on the way in which time shapes our lives and our perception of the world. ‘Time Réflections’is a mosaic of contemporary beats and echoes of traditional dance, with a nod to baroque music, which finds an unexpected and poetic place here. Vincent Peirani’s collaborations with artists from diverse backgrounds add anintertextual dimension to his music. In this album, the influences of Beninese guitaristLionel Loueke and German pianist Michael Wollny are clearly evident in two tracks specially dedicated to them.These resonances illustrate the richness and diversity that characterise Peirani’s work,offering a musical experience that is both introspectiveand universal.

Conductor and composer Jörg Widmann leads the Stuttgarter Kammerochester in this album of masterpieces for string orchestra. The precocious Mendelssohn is represented with his String Symphony No. 10 in B minor. It consists of a single movement, in which a sweeping slow introduction is followed by an allegro and coda. Widmann’s own Ikarische Klage takes its subject matter from a poem by Baudelaire: "Burnt by the love of beauty / I will not have the sublime honour / of giving my name to the abyss / that will serve as my grave”. Of Korngold’s Symphonic Serenade, Widmann says "What a piece, full of glittering magic!". In this work we hear dreams of a real or imaginary Vienna in the time of Mahler or Berg: a vision that looks to the future, is heart-rending but never sentimental.

In keeping with the fascinating rediscoveries of French music made by the Palazzetto Bru Zane, this programme of sacred music presents works by well-known composers such as Saint-Saëns and Fauré as well as lesser-known works such as the Kyrie by Clémence de Grandval and Charlotte Sohy, the Ave Maria by Léon Boëllmann and Fernand de La Tombelle, and a Cantique de Jean Racine composed by the deeply religious Mel Bonis to a different text from that chosen by Fauré, in memory of her deceased son Édouard. Instruments were added ad libitum for performances in the most prestigious religious buildings to encourage performances of the said works in other places as well. Fauré's Tantum ergo, for example, with organ, piano or harp and double bass, could be played in church, in concert, or at home. These discoveries are what make this programme so interesting, bringing the Chœur de Radio France together with vocal and instrumental soloists of the highest calibre under the expert direction of Christophe Grapperon.

Lumen is the deeply personal and introspective new solo album by pianist and composer Bill Laurance. Recorded in the stillness of night inside an empty church, the album captures a rare and intimate moment of communion between artist, instrument, and space. Though not religious, Laurance describes the experience as almost spiritual—guided more by the music itself than by his own intention, as if he were merely a vessel.

Relive the iconic sound of Talking Heads with this electrifying collection of live radio broadcast performances. Featuring their earliest hits delivered with the band's signature energy and innovation, this album offers a rare glimpse into their unforgettable live experience. Perfect for fans and new listeners alike, it's a vibrant tribute to one of the most influential bands of new wave and alternative music. Live Icons selects some of the choicest cuts from their live radio broadcast repertoire.

A promising guitarist whose personal troubles have perhaps kept him from realizing his full potential, Lurrie Bell rebounded from an early-'90s nadir with the intense and sometimes bizarre Mercurial Son, almost like a Chicago blues version of Skip Spence's Oar. The following 700 Blues was considerably more polished, but 1998's Kiss of Sweet Blues finds a workable middle ground between the two extremes. The songs, mostly by producer/rhythm guitarist Dave Specter and bassist Harlan Terson with Bell contributing only a pair of riff-based instrumentals, aren't as challenging as those on Mercurial Son, but they're entirely credible; "Blues and Black Coffee" and "Hiding in the Spotlight" have the hard-earned intensity to put themselves over even if they lack the earlier album's knife-edge immediacy and sometimes peculiar phrasing…

The Boomtown Rats were one of the most successful bands of the 1970s in the UK. Their grown-up new wave and real time stories captured the imagination of a mass audience. As the leader of The Rats, Bob Geldof led his band of Dublin post-punkers right to the very top of the UK charts with UK No.1s Rat Trap and I Don’t Like Monday’s. The First 50 Years: Songs Of Boomtown Glory on vinyl and CD celebrates the highlights of the group’s storied career. In its gatefold sleeve with brand new artwork and commentary, all tracks have been selected by the band themselves. Released to coincide with their 50th anniversary tour, this is the very best of the Boomtown Rats and a one-stop shop of their words and melodies.

The always eclectic Maria Muldaur, whose previous albums have paid tribute to Shirley Temple and blues women of the '20s, takes another musical detour in this collection of songs associated with Peggy Lee. In addition to her cool, sexy, relaxed voice, Lee was arguably more talented than other vocalists from her era. As a songwriter she co-penned some of her own material, including the swinging "I'm Gonna Go Fishin'" with Duke Ellington, which features the witty double entendres that spice several other songs. Muldaur possesses a similar ability to purr ("Some Cats Know") or sizzle (an opening tour de force of "Fever" and "Black Coffee") without breaking a sweat. So this collection of 12 tracks, backed by a talented yet restrained eight-piece band, is a natural extension of her vocal strengths. The stylish, retro arrangements include vibes and big-band-styled horn charts that sound as authentic as if they were recorded in the '30s. Even though there are some finger-popping swing numbers (a zippy duet with Dan Hicks on Ted Shapiro's "Winter Weather" is especially peppy), a late-night, languid blues-jazz vibe dominates.

Veteran jazz pianist Steve Kuhn has proved to be a popular artist in Japan, recording a series of CDs for the Japanese label Venus. On these 2006 sessions, Kuhn is joined by bassist Buster Williams and drummer Al Foster, two artists who also have extensive résumés. While the CD is titled Plays Standards, Kuhn doesn't stick exclusively to well-known works. In addition to Victor Young's widely recognized "Beautiful Love" (a favorite of pianist Bill Evans), the pianist offers a seductive take of the composer's "Golden Earrings" and a lighthearted, breezy setting of "Love Letters" as well. Kuhn's intense workout of "Alone Together" includes an amusing detour into Thelonious Monk's "Locomotive," while his revamping of "Softly, as in a Morning Sunrise" disguises the tune rather well. Kuhn also revisits his original "Oceans in the Sky," a brilliant piece evocative of a coming storm.