On Dr. John's first major-label effort, and first vocal studio album in ten years, he performs a set of pop standards including Cole Porter's "Love for Sale" and Johnny Mercer's "Accentuate the Positive." After starting out with a wild stage act and unusual costumes, Dr. John has evolved into a vocal stylist and piano virtuoso, which makes the idea of doing this sort of material appealing. And he does it well, turning out a leisurely duet with Rickie Lee Jones on "Makin' Whoopee" that won a Grammy (Best Jazz Vocal Performance, Duo or Group), and giving sad feeling to "My Buddy." Maybe he has changed since the Gris Gris days, but even a mellowed Dr. John is a tasty one.

24bit digitally remastered Japanese limited edition issue of the album classic in a deluxe, miniaturized LP sleeve replica of the original vinyl album artwork. According to his biographer, Charles Sawyer, this is King's personal favorite among his recordings. Unlike most of his albums from this period (which are mostly collections of singles), this was recorded in one session and takes him out of his usual big-band setting, using only bass, drums, and piano for accompaniment. The result is a masterpiece: a sparse, uncluttered sound with nothing to mask King's beautiful guitar and voice. "You Done Lost Your Good Thing Now" (its unaccompanied guitar intro is a pure distillation of his style), "Mr. Pawn Broker," "Someday Baby" (R&B Top Ten, 1961), "Walkin' Dr. Bill," and a great version of "Drivin' Wheel" are highlights.

Forty years after his classic quartet's first triumphant tour of the U.K. in 1958, Dave Brubeck took his then current group back for an anniversary visit, playing a mixed bag of old and new songs for fans both old and new. This time out, Brubeck's working quartet included two British natives, drummer Randy Jones and bassist Alec Dankworth (the son of British jazz superstars Cleo Laine and John Dankworth). Brubeck himself was the obvious draw for the crowds, but it's saxman Bobby Militello who is truly the musical star of the show. The highly regarded Militello shows he can roam across the entire spectrum of alto saxophone tonality, employing a light, delicate tone à la Paul Desmond one minute, then bearing down for some gritty, deep-throated improvisations the next. Brubeck's unmistakable pianism remains as identifiable as ever, comping and soloing with the same energy he undoubtedly had 40 years earlier…

Hard on the heels of King Crimson, the debut of Gracious! begins with the blandly but accurately titled "Introduction." One of the album's strongest tracks, it's a Nice-like combination of menacing Moog breaks and shimmering harpsichords, and it foreshadows the band's use of both heavy prog music and ghostly lyrics tinged with Catholic dread. "Heaven" is a gorgeous minor-key ballad of stately Mellotron and chiming guitar tones, with harmonies reminiscent of late-model Zombies. "Hell," not surprisingly, is another thing altogether: a descent into drunken declamations, clinking bottles, rowdy bar sounds, loopy piano riffs, and creepy phasing effects. From here, the album settles down a bit: "Fugue in D Minor" is a straightforward chamber orchestra piece, and the "Dream" ends the album with meandering jamming and overblown monologues. Still, it's a fine debut, and it presaged the superb second effort that was to follow.

REO Speedwagon Rock band from Champaign, Illinois, USA. They named the band REO Speedwagon, from the REO Speed Wagon, a 1915 truck that was designed by Ransom Eli Olds. Doughty had seen the name written across the blackboard when he walked into his History of Transportation class on the very first day they had decided to look for a name. Rather than pronouncing REO as a single word as the motor company did, they chose to spell out the name with the individual letters each pronounced ("R-E-O"). Formed in 1967, the band cultivated a following during the 1970s and achieved significant commercial success throughout the 1980s. Hi Infidelity (1980) contained four US Top 40 hits and is the group's best-selling album, with over ten million copies sold.

When the Bureau B label contacted Karl Bartos and showed interest in releasing any archival material he might have laying around the lab, the former Kraftwerk member (that is, "classic lineup" member, joining for the Autobahn tour and leaving somewhere between Electric Cafe and The Mix) wasn't interested. After all, he's a never-look-back futurist, but as the liner notes to Off the Record explain, he's an open-minded futurist as well and allowed this initially rejected idea to morph into something new. Kicking off with "Atomium" - a grand bit of robot techno and possible sequel to Kraftwerk's "Radioactivity" - Off the Record uses Bartos' archival tapes, zip drives, or computer files from 1975 to 1993 as its foundation, then mashes these off-hours audio sketches (recorded "off the record" from his usual band) with new ideas, overdubs, and vocoder vocals…

Kévin Amiel, the rising voice of French opera, confirms his talent with a first album of the highest calibre. Nominated for a ‘Révélations’ award at the Victoires de la musique classique awards in 2020 and an Adami artist, the tenor explores the great arias of the 19th century, a period when opera celebrated extraordinary destinies, from the stage to backstage, with Verdi, Gounod, Puccini and Delibes.Combining a luminous timbre, virtuosity and dramatic talent, Kévin Amiel embodies this demanding art, forged by passion, patience and hard work. With a nod to Pavarotti, arguably the greatest and most popular of opera singers, he slips a few traditional Neapolitan arias into this programme, as if to remind us that the joy of singing must always come first.

Two CD collection. Numerous tracks new to CD. Includes numerous major hits, including Janet Kay's 'Silly Games'. Dennis Bovell will be actively supporting the release. Dennis Bovell's musical talents are manifold. An exceptional singer, producer, songwriter, multi-instrumentalist, arranger and DJ, he has created a truly outstanding body of work since making his recording debut in the early 70s with the popular British reggae band Matumbi. Particularly revered by reggae fans are his recordings from the late 70s and early 80s, which include many of the finest roots, dub and lovers rock tracks yet to see issue. This 2CD set focuses on that period, with the collection bringing together the cream of Dennis's work that saw release on 7" and 12" vinyl from 1977 to 1981 - a truly golden age for classic reggae. Among the many highlights are Errol Dunkley's best-selling title track and similarly popular recordings by Marie Pierre, Delroy Wilson, Dennis himself, and Janet Kay, whose 'Silly Games' almost topped the UK charts in 1979. As with the acclaimed companion Doctor Bird volume, 'The 4th Street Orchestra Collection', this long overdue anthology is an absolute must-have for fans of top quality reggae and the unique talent of Dennis Bovell.

R.E.M. verscheen ten tonele toen post-punk overging in alternatieve rock. Hun eerste single, "Radio Free Europe," uit 1981, veroorzaakte een terug-naar-de-garage beweging in de Amerikaanse underground. Door de combinatie van gitaarsolo's, gemompelde, cryptische teksten en een D.H.Z. esthetiek die was overgenomen van de post-punk, klonk de band zowel traditioneel als modern. Gedurende de jaren '80 werkten ze onafgebroken; ze brachten elk jaar platen uit en waren voortdurend op tournee. Tegen het eind van de jaren '80, was hun fanbase groot genoeg om goede verkopen te garanderen, maar het top tien succes van Document en "The One I Love" in 1987 was toch onverwachts. Na Document groeide R.E.M. langzaam uit tot een van 's werelds populairste bands.

More than 15 musicians have been members of 70s rockers Heart, but the band is, at its core, all about two sisters from the Pacific Northwest; Ann and Nancy Wilson. 1983 marked a successful shift to mainstream rock with the new album Passionworks which signalled a slicker, more radio-friendly version Heart.

Track 1-17: Live At The Paradiso, Amsterdam, 25.11.1991. Track 18-21: "Bleach" Sessions, Reciprocal Recording, Seattle, December 1988.

Stereo soundboard recording live from the Molson Amphitheatre, Toronto, Ontario, Canada 22nd July 2011. From the 'Shuffle Diplomacy 2011' tour - Steely Dan with the Miles High Big Band and featuring The Embassy Brats.

Deluxe three CD + Blu-ray edition. This 50th Anniversary boxed set edition of this special album features the original 1973 album mix (newly remastered from the original master tapes), along with wonderful new stereo and 5.1 Surround sound mixes of the album by Stephen W Tayler. The set also includes a full concert recorded at The Howff in Hampstead, London in 1974, newly remixed from the original multi track tapes by Stephen W Tayler, which includes a guest appearance by Andy Powell of Wishbone Ash, and additional bonus tracks drawn from singles. This limited edition boxed set also features an illustrated 68-page book with a new essay by Al Stewart aficionado Neville Judd and a facsimile promotional poster and a set of four postcards and is a fitting tribute to a much treasured and legendary masterpiece by a consummate song writer and performer.

Four CDs in a long box, with 48-page, full color, saddle-stitched booklet, brimming with rare pics and memorabilia. "The Ultimate Joe Meek Anthology", this is his first wholly comprehensive career overview. Disc 1: presents many of the hits he engineered for the major UK labels during the mid/late 50s. Disc 2: Joe goes it alone, and tops the UK Charts with "Johnny Remember Me". Disc 3: ‘Telstar’ propels Meek to international success. Disc 4: "Have I The Right’ Introduces a whole new RGM sound. Disc 2, 3 and 4 include copious collectors’ rarities, demos, interviews, previously unissued sides, etc. Liner notes by St Etienne’s Bob Stanley, a self-confessed Joe Meek fanatic.

Grant Green embraced R&B and jazz-funk on his 1971 album Visions featuring Billy Wooten, Emmanuel Riggins, Chuck Rainey, Idris Muhammad, Ray Armando, and Harold Caldwell. The guitarist’s distinctive tone, and melodicism elevate songs by The Jackson 5, Chicago, The Carpenters, Mozart, and Quincy Jones’ ‘Maybe Tomorrow’ which was later sampled by Kendrick Lamar. This Blue Note Classic Vinyl Edition is stereo, all-analog, mastered by Kevin Gray from the original master tapes, and pressed on 180g vinyl at Optimal.