Cowboy Junkies release Open to Beauty, a transparent yellow 3-LP and 2 CD collection of songs from their 21st century albums to date. This ‘Best Of’ set revisits selected tracks from albums Open, One Soul Now, Early 21st Century Blues, At The End of Paths Taken, Renmin Park, Demons, Sing In My Meadow, The Wilderness, All That Reckoning, Songs of the Recollection, and Such Ferocious Beauty. Speaking about the new collection, Cowboy Junkies’ Michael Timmins said: “We are now 25 years into this century, the beginning of which saw us leave the world of major labels and return to making music as an independent band. We figured this was as good a time as any to look back, reassess, and reflect on the music that we have recorded over these past two and a half decades and, hence, Open to Beauty - The Best of the 21st Century.” The enduring power of Cowboy Junkies’ music was in evidence recently when their signature performance of Lou Reed's “Sweet Jane” was featured in the final episode of the Netflix TV series Stranger Things.

They Call Us The Lucky Ones is a road-worn portrait of modern Americana — songs about movement, memory, love, and survival, exploring the space between freedom and consequence where highways replace homes and connection becomes the true measure of success. The album tells stories of outsiders and drifters, chosen family and lost friends, broken systems and restless ambition — and the ghosts we carry no matter how far we run.

Young's "Official Release Series" continues with the next set of chronological titles to include: Long May You Run (The Stills-Young Band - 1976), American Stars 'N Bars (1977), Comes A Time (1978), Rust Never Sleeps (1979), and Live Rust (1979).

Os Tincoãs is a 1973 album by the Brazilian vocal group Os Tincoãs, rooted deeply in Afro-Brazilian musical traditions and early MPB influences. The record is heavily inspired by Candomblé and other Afro-religious traditions, blending sacred rhythms, call-and-response vocal structures, and devotional themes with Brazilian folk sensibilities. The group’s harmonized vocals form the core of the album’s identity, creating a spiritual and meditative atmosphere throughout. Many of the tracks pay homage to orixás and Afro-Brazilian deities, reflecting cultural heritage and religious expression rather than conventional pop songwriting. The arrangements are relatively minimal, focusing on percussion, chant-like vocal delivery, and rhythmic repetition that evokes ritualistic performance. Songs such as “Canto Pra Iemanjá” and “Saudação Aos Orixás” emphasize the devotional aspect of the work, while others like “Na Beira Do Mar” incorporate natural imagery tied to Afro-Brazilian spirituality. Overall, the album stands as an important cultural and musical document, preserving traditional Afro-Brazilian religious music within a recorded MPB framework.

Minos 2019 - 18 Super Hits is a 2018 compilation released by Minos-EMI, featuring a selection of contemporary Greek pop, folk, and modern laïko-influenced hits performed by a variety of well-known artists from the Greek music scene. The collection highlights the commercial sound of late-2010s Greek popular music, blending radio-friendly pop production with traditional folk and regional influences. Across the compilation, upbeat dance-pop tracks are balanced with melodic ballads, reflecting the diversity of modern Greek mainstream music. Artists such as Nikos Ikonomopoulos, Helena Paparizou, Peggy Zina, and Tamta contribute standout performances that emphasize strong vocal delivery and emotional themes centered around love, relationships, and personal expression. The production style is polished and contemporary, often incorporating electronic beats, synth layers, and rhythmic structures designed for both radio play and club environments. Overall, the album serves as a snapshot of the Greek pop music landscape during the late 2010s, showcasing some of its most recognizable voices and commercially successful styles.

THIS MONTH’S COVERMOUNT CD is Back To The Garden – A Tribute To Joni Mitchell. 15 brilliant Joni covers by Roberta Flack, Fairport Convention, kd lang, Margo Price, Fleet Foxes, Tom Rush and more!

Portraits is a three-disc, 61-track box set covering Emmylou Harris' entire career for Reprise and Warner Records, which spans from 1974 to 1992. Not only does the box select highlights from classic albums like Luxury Liner, Roses in the Snow, and Blue Kentucky Girl, but it also features her early duets with Gram Parsons and selections from the Trio album she recorded with Dolly Parton and Linda Ronstadt. Portraits doesn't dwell too long on unreleased material – there are only five unearthed tracks on the entire set – preferring to sketch out a full overview of her career. While there might be a few favorite tracks missing, the box nevertheless fulfills its goals quite nicely – anyone looking for a comprehensive compilation of Emmylou's career will not be disappointed.

Robbie Basho was one of the big three American acoustic guitar innovators, John Fahey and Leo Kottke being the other two. Basho was the least commercially successful of the three, but his influence and reputation has steadily grown since his untimely death in 1986 at the age of 45. And with good reason; for Basho's deeply spiritual approach, intellectual rigor, and formal explorations (among his goals was the creation of a raga system for American music), present a deeply compelling, multi-faceted artist. Basho was actually a college friend of John Fahey, and his early recordings (like Kottke's) were for Fahey's Takoma label. Following Fahey 's move to Vanguard, Basho followed suit, and released Voice of the Eagle and Zarthus for the label in 1972 and 1974, respectively (his most commercially successful records were made for the Windham Hill label later in the decade).

A slick 3-CD gatefold package that walks you through a legendary back catalogue of folk giants Fairport Convention. Featuring tracks such as Si Tu Dois Partir, Meet On The Ledge, Who Knows Where the Time Goes?, Matty Groves and many more.

In the liner notes to these carefully packaged reissues, all four of the Incredible String Band principals– co-founder Clive Palmer, core duo Mike Heron and Robin Williamson, and Elektra records executive Joe Boyd– offer their insights in separate essays. Three of them mention the smell of patchouli. Such were the times, certainly, but the ISB are loved equally by avant-garde musicians, psychedelia enthusiasts, and those slightly dweeby young gentlemen who hang around music shops on college campuses. The reissue of their first four albums probably put to rest any notion that the ISB were a properly great band, releasing just one true classic, but they were rarely anything less than brave, inspired, and profoundly weird.