The Doors had one of the most extraordinary debut years in music history in 1967, releasing a string of hit singles and two platinum albums, beginning in January with the band’s self-titled debut, followed by Strange Days in September. The latter peaked at #3 on the Billboard album chart and featured classics like “Love Me Two Times,” “When The Music’s Over,” and the title track “Strange Days.”

The Doors fifth studio album, Morrison Hotel, will be reissued in October for its 50th anniversary. The album was recorded in late 1969/early 1970 and released in February 1970. It’s newly remastered for this release by Bruce Botnick. The goodies are all on the bonus CD with more than an hour of unreleased recordings taken from the sessions for Morrison Hotel. Botnick says: “There are many takes, different arrangements, false starts, and insightful studio conversations between the band – who were in the studio – and producer Paul Rothchild – who was in the control room. It’s like being a fly on the wall.” The outtakes include rough versions of Morrison Hotel tracks ‘Peace Frog’ and ‘Blue Sunday’ as well as The Doors rarity ‘I Will Never Be Untrue.’ The bonus CD also features the band jamming on cover versions of the Motown classic ‘Money (That’s What I Want)’ and B.B. King’s’ ‘Rock Me’.

CD1: 1-2 Avalon Ballroom, San Francisco, 15th march 1967; 3 CBC TV Studio, Toronto, 14th September 1967; 4-5 CBS TV Studios, LA (Ed Sullivan Show) 17th September 1967; 6-7 CBS TV Studio (Jonathan Winters Show) 27th December 1967; 8-9 Smothers Brothers Comedy Hour, 4th December 1968; 10-15 Critique TV Show, recorded 28th April 1968; CD2: Konserthuset, Stockholm, Sweden 20th September 1968; CD3: Cobo Arena, ~Detroit, 8th May 1970, FM Radio Broadcast; CD4: Center Coliseum, Seattle, 5th June 1970, FM Radio Broadcast; CD5: PNE Coliseum Vancouver, 6th June 1970, FM Radio Broadcast 4th July 1992; CD6: Aragon Ballroom, Chicago, 21th July 1972, FM Radio Broadcast.

The Doors found their mojo (and Mr. Mojo Risin’) in November 1970 as they recorded L.A. Woman over six days at the Workshop, the band’s rehearsal space on Santa Monica Boulevard. A success both critically and commercially, the album was certified double-platinum and contains some of the band’s most enduring music, including the Top 20 hit “Love Her Madly,” “Riders On The Storm,” and the title track.

Come On Over is the third album by Canadian singer Shania Twain (born 1965). With approximately 100 million records sold, she is the most successful artist in the history of country music. Come On Over was also made with the significant contribution of her then-husband and collaborator, producer-composer Robert John "Mutt" Lange.

Michael Mayo Expands Fly With a Deluxe Edition That Soars.

In 2021, vocalist Michael Mayo emerged as one of jazz’s freshest new voices with Bones, a debut album that combined inventiveness, rhythmic vitality and an easy charm. Its standout track, “You and You,” quickly ricocheted across the internet, introducing listeners to an artist equally at ease with tradition and innovation.

It's quite easy to place Roberta Flack near the top of the pile of singer/songwriters who changed the course of pop music, not only soul music, during the '70s. She was fortunate enough to deliver the velvet-smooth ballad "The First Time Ever I Saw Your Face" to an unsuspecting public, and followed it up with an onslaught of ballads that would keep her on the charts for the remainder of the decade. From start to finish, this greatest-hits compilation is the most comprehensive look at her finest moments available on record. From her legendary string of duets with Donny Hathaway to her duets with Peabo Bryson and Maxi Priest that kept her at the top of the charts through the '80s, they're all here.

Schubert set the poetry of over 115 writers to music. He selected poems from classical Greece, the Middle Ages and the Renaissance, from eighteenth-century German authors, early Romantics, Biedermeier poets, and Heine. The Deutsche Schubert-Lied-Edition presents all Schubert’s Lieder, over 700 songs, grouped according to the poets who inspired him. Thanks to the Bärenreiter’s Neue Schubert-Ausgabe (New Schubert Edition), Tübingen, which uses primary sources, the performers have been able to benefit from the most recent research of the editorial team.

As director of Musica Antiqua Koln, Reinhard Goebel was constantly on the lookout for musical treasures from the Baroque. In Dresden and Leipzig after the Berlin Wall fell in 1989, Goebel secured access to original manuscripts which allowed him and his Musica Antiqua Koln to record some of the most insightful Bach albums in DG's history. This 13CD box presents Goebel's finest J.S. Bach recordings for DG including The Brandenburg Concertos, Orchestral Suites and Chamber Works.

Liszt’s sonata is regarded by many as his ultimate masterpiece and it ranks alongside other “greats” in the pantheon of piano repertoire. This was not always the case, however, and in the 19th century it was met with extreme reactions, from admiration to suspicion and envy. The critic Eduard Hanslick declared “Anyone who has heard this and finds it beautiful is beyond help”, while Wagner heaped praised upon it (perhaps unsurprisingly). Alfred Brendel has called it “the most original, powerful and intelligent sonata composed after Beethoven and Schubert”.

Violinist Daniel Lozakovich was already a veteran at 18, having made his debut at age nine and signed to Deutsche Grammophon at 15. It may seem that each year brings a prodigal new violinist, but Lozakovich, a charismatic soul who boxes on the side, bow hand be damned, is one of the best. His Tchaikovsky Violin Concerto in D major, Op. 35, is muscular and unafraid of a little gravel in the tone. Sample his finale, a broad, arch-Russian thing where he is ideally backed by his mentor, Vladimir Spivakov, leading the new National Philharmonic Orchestra of Russia. Lozakovich grabs your attention from the start but never overplays the transitions.

This recording presents five virtuoso violin players in five distinctly different music genres: Irish, American jazz, Appalachian, Cape Breton, and Cajun. The fiddlers are Brenden Mulvihill, Claude Williams, Kenny Baker, Natalie MacMaster, and Michael Doucet; three of them (Williams, Baker, and Doucet) are recognized as National Heritage Fellows by the National Endowment for the Arts. Recorded while on tour in 1994, the fiddlers are on their game with lively presentations of their individual music styles.

This three-CD set from the prestigious Mosaic Select label has the Pacific Jazz trio performances led by pianists Russ Freeman, Richard Twardzik, Jimmy Rowles, and Clare Fischer. One of the Rowles' sessions is actually a quartet date with guitarist Al Hendrickson added, but it certainly has the feel of a trio. The first disc has 14 titles featuring Freeman from 1952-1957 and the only seven studio sides led by the ill-fated Twardzik (other than a rehearsal session released elsewhere). The music was originally issued as Russ Freeman/Richard Twardzik, Russ Freeman Trio and Jazz Swings Broadway. Freeman shows that he was the definitive West Coast jazz pianist of the '50s while Twardzik hints at an original style that was never allowed to fully develop. The second disc showcases the sparse and witty style of Jimmy Rowles on its first 11 numbers (mostly from the album Rare But Well Done) while the remainder of the disc and all of CD number three have the music from Clare Fischer's First Time Out and Surging Ahead, some of the rarest material on the three-fer. All in all, this is a highly enjoyable and logical reissue, bringing back some particularly rewarding performances from four underrated pianists.

Here are 100 tracks by Bob Dunn-one of the very first people to play amplified steel guitar in a country group and on record-and the illustrious string men who followed in his trailblazing footsteps! These helped forge the very sound of country music: (with Dunn) St. Louis Blues; Little White Lies; Jitterbug Jive; Texas Hambone Blues; Easy Ridin' Papa; Blue Skies ; (with Lefty Perkins) Honky Tonk Blues; Rose Room; High Geared Daddy; Long Long Ago ; (with Billy Briggs) Hi Flyer Stomp; Am I Blue; Oh Monah!; Mama Inez; Pretty Baby Boogie ; (Speedy West & Jimmy Bryant) Cracker Jack; Midnight Ramble; Georgia Steel Guitar; Railroadin'; Speedin' West; Caffeine Patrol; Stainless Steel; Stratosphere Boogie; Flippin' the Lid, and more.

Sade's second album improved on the performance of her debut, as "Sweetest Taboo" was a huge hit and "Never as Good as the First Time" landed in both the R&B and pop Top 20. She was once again the personification of cool, laid-back singing, seldom extending or embellishing lyrics, registering emotion, or projecting her voice. This demeanor made her more desirable in the minds of many fans and was perhaps the ultimate misapplication of the notion of sophistication. But this album topped the pop charts and eventually went triple platinum.