Once the heart of America's motor industry, many of Detroit's production lines are derelict and 30,000 houses are empty or demolished. Neighbors now grow vegetables for neighbors, while industrialised farming waits to take over. The inner city tries to regenerate itself but wholesale bankruptcy acts as a deterrent. Music and gas-guzzling cars stagger on but the city that nurtured the talents of the artists featured here has all but vanished. As well as automobiles, there was music. But until Motown, Detroit even lacked a major record label. Activity - and there was plenty - came from a handful of independents - Fortune, JVB, Sensation and Staff among them - who relied on local talent. Then there was Elmer Barbee, the owner of a record store with a studio in the rear. He it was who found John Lee Hooker playing a little bar on Monroe Street. The pair persisted for a year before - through the success of Boogie Chillun - Hooker's talent became increasingly widely known. Here are many of Hooker's early Detroit recordings and of the many - Sylvester Cotton, Bobo Jenkins, Eddie Kirkland, Eddie Burns among them - who hoped to achieve, and occasionally did achieve - similar success.

Can't Play A Playgirl: 1960s Girl Goodies Lost & Found continues in the Teensville tradition of spotlighting obscure female pop productions from the greatest decade in music. Almost all of the tracks make their digital debut, including a few by the likes of Ellie Greenwich and The Darlings that have never been anywhere until now. The CD features 34 tracks and includes a 20-page booklet with a 6,000+ word essay and plenty of photos.

This limited-edition four-LP box set from Mosaic has all of the early Blue Note recordings of tenors John Hardee and Ike Quebec. The little-known three sessions from Hardee are all from 1946 (one is under the leadership of guitarist Tiny Grimes) and find him in top form on a variety of swing-based originals, along with a few standards. In addition to Grimes, the sidemen include trombonist Trummy Young, guitarist Jimmy Shirley, and pianists Marlowe Morris and Sammy Benskin. Hardee would eventually settle in Texas as a full-time educator. In contrast, Ike Quebec, who is showcased on five dates (including 11 previously unissued performances), would achieve a bit of fame (his recordings of "Blue Harlem" and "If I Had You" gained some attention) before drugs forced him off the scene in the 1950s; he would make a brief comeback in the early '60s prior to his premature death. Quebec's early Blue Note dates are superior examples of small-group swing and have solo space for some notable stars: guitarist Tiny Grimes; pianist Ram Ramirez; trumpeters Jonah Jones, Buck Clayton, and Shad Collins; and trombonists Tyree Glenn and Keg Johnson. This 1984 box is certainly definitive but promises to be difficult to find.

One of Rolling Stone's 500 Greatest Albums of All Time, Alice Coltrane's 4th Impulse! album finds her on piano and harp in the company of saxophonist Pharoah Sanders. "Almost 50 years after [it] was released, the album remains a vision of universal healing, spiritual self-preservation in times of trouble and the god that appears when you seek her out." (NPR). Verve's Acoustic Sounds Series features transfers from analog tapes and remastered 180-gram vinyl in deluxe gatefold packaging.

20 tracks new to CD. Includes dub versions of numerous major dancehall hits. Most tracks unavailable for over 45 years. By 1980, the roots sound that had dominated Jamaican music for much of the 70s had been largely superseded by dancehall, a new, driving style that would remain in favour until the arrival of the digital era in 1985. In the years leading up to dancehall’s arrival, few, if any of the island’s producers had enjoyed greater success than Joe Gibbs, whose hit-rate throughout the previous decade included international chartbusters from the likes of Nicky Thomas, Dennis Brown, Althea and Donna and Culture. Determined to retain his position at the top of the Jamaica music tree, Gibbs was swift to embrace the new dancehall sound, securing the talents of its most accomplished exponents as well as almost every up-and- coming young artist of note. As a result, he remained one of reggae music’s premier producers until his dramatic retirement in 1984, by which time he had released numerous major hits in the style.

25th anniversary edition of Ronan Keating’s eponymous debut album – Ronan25 features the original 15 track extended album alongside Ronan’s 2000 Royal Albert Hall performance on CD & vinyl for the very first time.

5 CD set includes the albums 'Out Of The Silent Planet,' 'Gretchen Goes To Nebraska,' 'Faith Hope Love,' 'Kings X' & 'Dogman'.

Born at the end of the 60s, Acid Jazz is one of the most distinguished and seductive styles of all times. With its mix of soul, jazz, hip hop, funk and house, Acid Jazz attracts the attention of dance culture and those who likes good songs, well played, with fascinating arrangements. Acid Jazz Trilogy is a magnificent summary of this culture as it travels through the origins of the genre, with Joe Bataan and Cal Tjader, to the absolute classics (such as the Brand New Heavies, Brooklyn Funk Essentials, Incognito and many others) and the evolution of the genre, where Acid Jazz combines with electronic music. Acid Jazz Trilogy is an album out of series, a very valuable piece to collect and enjoy.

Now That's What I Call Driving Rock is a compilation of rock tracks released as 3-CD on 2 Jun 2017.

Quartet Records, in collaboration with Metro-Goldwyn-Mayer, Capitol Records and Universal Music Enterprises, is proud to present a mammoth 3-CD expanded edition of Ennio Morricone's iconic score for the no-less iconic 1966 epic western by Sergio Leone: THE GOOD, THE BAD AND THE UGLY, starring Clint Eastwood, Lee Van Cleef and Eli Wallach. THE GOOD, THE BAD AND THE UGLY features what is probably the most instantly recognizable and famous of Morricone's themes. But there is much more to admire in this score, such as the inventive motifs, formation of thematic material and adroit orchestrations (which the Maestro considered possibly even more important than the act of composition).

After two LPs with little or no energy, Sade demonstrated some intensity and fire on her third release. Whether that was just an attempt to change the pace a bit or a genuine new direction, she had more animation in her delivery on such songs as "Haunt Me," "Give It Up," and the hit "Paradise." Not that she was suddenly singing in a soulful or bluesy manner; rather, Sade's dry and introspective tone now had a little more edge, and the lyrics were ironic as well as reflective. This was her third consecutive multi-platinum album, and it matched the two-million-plus sales level of her debut.

Camel's classic period started with The Snow Goose, an instrumental concept album based on a novella by Paul Gallico. Although there are no lyrics on the album – two songs feature wordless vocals – the music follows the emotional arc of the novella's story, which is about a lonely man named Rhayader who helps nurse a wounded snow goose back to health with the help of a young girl called Fritha he recently befriended. Once the goose is healed, it is set free, but Fritha no longer visits the man because the goose is gone.

The first studio album of Band originals since 1971's Cahoot – in many respects, Northern Lights-Southern Cross was viewed as a comeback. It also can be seen as a swan song, in that its recording marked the last time the five members would work together in the studio as a permanent group, with a commitment to making a record they would tour behind and build on as a working band. The album was also, ironically enough, the Band's finest since their self-titled sophomore effort, even outdoing Stage Fright.

Mike Oldfield's groundbreaking album Tubular Bells is arguably the finest conglomeration of off-centered instruments concerted together to form a single unique piece. A variety of instruments are combined to create an excitable multitude of rhythms, tones, pitches, and harmonies that all fuse neatly into each other, resulting in an astounding plethora of music. Oldfield plays all the instruments himself, including such oddities as the Farfisa organ, the Lowrey organ, and the flageolet. The familiar eerie opening, made famous by its use in The Exorcist, starts the album off slowly, as each instrument acoustically wriggles its way into the current noise that is heard, until there is a grand unison of eccentric sounds that wildly excites the ears.

At Fillmore East is the first live album by American rock band the Allman Brothers Band, and their third release overall. Produced by Tom Dowd, the album was released on July 6, 1971 in the United States, by Capricorn Records. As the title indicates, the recording took place at the New York City music venue Fillmore East, which was run by concert promoter Bill Graham. It was recorded over the course of three nights in March 1971 (only two nights were used for the album) and features the band performing extended jam versions of songs such as "Whipping Post", "You Don't Love Me" and "In Memory of Elizabeth Reed". When first commercially released, it was issued as a double LP with just seven songs across four vinyl sides. At Fillmore East was the band's artistic and commercial breakthrough, rapidly escalating the band's exposure and gaining them a new legion of loyal fans.