Mississippi John Hurt was easily the most accessible of all the 1920s bluesmen rediscovered still alive and in playing condition in the early 1960s. His easy, gentle singing voice and deft guitar picking abilities were still intact and undiminished, and where some of his hard-living contemporaries suffered from alcoholism, Alzheimer's, or just plain crankiness when they emerged into the bright lights of the folk- and- blues- revivals, Hurt projected a calm, unaffected professionalism. The recordings on this two-disc set were made for the Library of Congress Archive of American Folk Song during two sessions on July 15 and 23, 1963.

Stop Making Sense is returning to theaters later this year, and now, the Talking Heads concert film is getting a shiny new soundtrack to go along with it. Rhino is issuing an updated deluxe edition on August 18th, complete with the film’s full setlist as well as two previously unreleased songs.

Denis Pascal and his sons Alexandre and Aurélien are united by a unique bond that can only come from family ties in music, and invite us on a fascinating exploration of Czech music between the 19th and 20th centuries. The national composers gradually emancipated themselves from German influence and infused their aesthetics with the melodies, colors and rhythms of their homeland. Bedrich Smetana was the first to follow this seminal path, and in his Trio op. 15, in which he mourns the death of his beloved daughter in 1855, the darkness is sometimes illuminated by purely Czech colors. In his trio "Dumky" (1891), Dvorák accentuates this tendency brilliantly, with a gripping expressive palette and an admirable perfection of composition. The Elegy by Josef Suk is a tribute to his older brother and also adds echoes of antiquity, not unlike French Impressionism.

They are one of the most famous and frequently performed works of classical music: Carl Orff's Carmina Burana. The Latin title refers to a collection of songs from Benediktbeuren dating from the 11th and 12th centuries with texts written in Middle Latin, Old French and Middle High German. Orff chose 24 of these songs, their topics ranging widely from the volatility of happiness and prosperity to the fleeting nature of life, from the joy of the return of spring to the pleasures and dangers of drunkenness, gluttony, gambling, and lust. In June 2024, at the Palau de la Msica in Valncia, the Orquestra de Valncia, one of the great Spanish symphony orchestras, together with the leading local boys choir as well as one of Spains oldest choirs, Orfen Pamplons, performed this epic work under the musical direction of Alexander Liebreich. They were joined by soloists Sara Blanch, Joaqun Asiin, and Andr Baleiro. The live recording of this lively and captivating concert evening is now available. Recorded live at the Palau de la Msica, Valencia (June 2024).

Re-imagining the fabled tale of a folklore favourite has been the latest creative challenge for Chris de Burgh. The compelling result breathes music and lyrical life into a centuries-old and much-loved classic. The Legend of Robin Hood finds Chris at his imaginative best, re-telling the story with cinematic vision coupled seamlessly to music of emotional depth and power. The concept for the 27th studio album by Chris emerged from his involvement in 'Robin Hood', a stage musical about the infamous Sherwood Forest nobleman and his band of outlaws. Chris was invited to contribute storylines and melodies to the musical, which will be produced later in the year."Since I was writing songs for this," he explains, "I thought 'Why not expand the story and put an album out, too?'"

Welcome to this month’s free 15-track CD – exclusively curated for Uncut by Lankum. The band developed in Dublin’s traditional music clubs, but have long tapped into wider international networks of punk, drone, electronica and black metal. They’ve now become inspirations themselves, leading a scene pushing traditional music to the very edges and, as they discuss in their feature in this month’s issue of Uncut, they’re proud to bring new and emerging talents to attention outside of Ireland.

OUR FREE CD! MADE TO LOVE MAGIC: To accompany this month’s Uncut cover story, a free 15-track CD of music in the spirit of Nick Drake comes with the issue. Inside, you will find tracks from the likes of Joan Shelley, Adrianne Lenker, Cass McCombs, Robyn Hitchcock and more!

Dead Set is the seventh live album (eighteenth overall) by the Grateful Dead. It was released in August 1981 on Arista. The album contains live material recorded between September and October 1980 at the Warfield Theatre in San Francisco and Radio City Music Hall in New York. Original CD pressings omitted the track "Space" so the entire album could fit on one CD. However, "Space" was included when the album was later rereleased as part of the 2004 Beyond Description box set, as well as on one CD in 2006. The 2006 release also included a bonus CD of live material.

Booker T. Jones was one of the architects of the Memphis soul sound of the 1960s as the leader of Booker T. & the MG's, who scored a number of hits on their own as well as serving as the Stax Records house band. But Jones' accomplishments don't stop there, and as a producer, songwriter, arranger, and instrumentalist, he's worked with a remarkable variety of artists, from Willie Nelson and John Lee Hooker to Soul Asylum to the Roots.

Diana Ross Diana Ernestine Earle Ross For releases by Diana Ross & The Supremes or variants of that please enter under The Supremes with the appropriate artist name variation there.American singer, actress and producer, born March 26, 1944 in Detroit, Michigan, United States.Working within groups early on in her musical career, she is equally known as an artist in her own right, and has released music in many genres; R&B, soul, disco, and jazz. Initial success came as lead singer of The Supremes.Sister to Motown songwriter Arthur Ross.

The Doors mark the moment when the American rock underground of the 1960s came crashing into the mainstream. The group's massive influence on the course of rock music may been overshadowed by decades of lionization of their late lead singer Jim Morrison, whose early death wound up being a pivotal part of their legacy. He seemed to loom larger in his afterlife than he did when he roamed the earth, his posthumous popularity cresting in the '80s as the Doors returned to radio airwaves in the wake of their magnum opus "The End" soundtracking pivotal moments in Francis Ford Coppola's Apocalypse Now. "The End" never appeared as a single but its Oedipal melodrama zeroed in on the Doors' appeal back in 1967: the group seemed otherworldly and dangerous, drawing from inspirations not normally heard in rock music.

Moon Safari is an excellent Swedish progressive rock group formed in Skellefteå, Sweden, in 2003. The band focuses on vocal arrangements in the style of Gene Puerling and they willingly surrender to the spirit of 60s rock, pop and progressive rock music, previously invoked by the Beatles, the Beach Boys and Yes. As the music evolves Moon Safari changes but always maintains their vocal harmony laden, melodic approach to modern Symphonic Prog.

The Memphis Record was RCA's first serious effort to assemble the highlights of what is usually called Elvis Presley's comeback, but which, arguably, could be considered the best album sessions of his career. For the first time since the middle to late '50s, he went into the studio without "Colonel" Tom Parker, his manager, in control of the repertoire, and cut songs because they were good and he liked them, without regard for whether Elvis' business half had an interest in the publishing. The result was one of the greatest white R&B albums ever done, filled from beginning to end with some of the best work of Elvis' career: "Suspicious Minds," "Kentucky Rain," and "In the Ghetto" became hit singles and speak for themselves, but "Any Day Now," "Stranger in My Home Town," "Long Black Limousine," and "Only the Strong Survive," among the other cuts here, are the equal of anything he ever recorded in musical excellence, excitement, and intensity. This material, some of which was originally divided up between two separate LPs, From Elvis in Memphis and Back In Memphis, has since been recompiled yet again on Suspicious Minds [1999], and that is the ultimate compilation of these songs, but this one is more than adequate for more casual fans who want a revelation or two (or three) in their listening.

The Eagles are unquestionably the biggest mainstream American rock band to have emerged in the 1970s. Not only did they sell more records and concert tickets than their peers – Their Greatest Hits (1971-1975) and Hotel California are two of the biggest-selling albums of all time – but they captured the shifting zeitgeist of the '70s, riding the country-rock hippie hangover at the end of the '60s until it reached the slick, expensive, and expansive pop/rock of Southern California in the late '70s. Co-leaders Don Henley and Glenn Frey met each other, along with fellow founders Bernie Leadon and Randy Meisner, when they were hired to support Linda Ronstadt in 1971. The chemistry was evident on-stage and in the studio, so the quartet decided to form a band, releasing their debut in 1972.

This is a strong recording from the Modern Jazz Quartet, with inventive versions of John Lewis' "Vendome," Ray Brown's "Pyramid," Jim Hall's "Romaine," and Lewis' famous "Django," along with cooking jams on "How High the Moon" and "It Don't Mean a Thing." The MJQ had become a jazz institution by this time, but they never lost their creative edge, and their performances (even on the remakes) are quite stimulating, enthusiastic, and fresh.