Coastal is a personal, behind-the-scenes documentary on Neil Young as he cruises the coast on his 2023 solo US tour. The film gives an intimate view of the maverick musician, as he navigates a return to the stage post-Covid. From his everyday observations on the bus to his candid banter with his audience. Coastal is a rare peek behind the curtain of this unguarded iconoclast. The film was shot and directed by Daryl Hannah. Coastal - The Soundtrack features 11 Neil Young songs including "Song X", "Vampire Blues", "Expecting To Fly", "Throw Your Hatred Down", "I Am A Child", and "Prime of Life".

Time Out of Mind was a legitimate comeback, Bob Dylan's first collection of original songs in nearly ten years and a risky rumination on mortality, but its sequel, Love and Theft, is his true return to form, not just his best album since Blood on the Tracks, but the loosest, funniest, warmest record he's made since The Basement Tapes. There are none of the foreboding, apocalyptic warnings that permeated Time Out of Mind and even underpinned "Things Have Changed," his Oscar-winning theme to Curtis Hanson's 2000 film Wonder Boys. Just as important, Daniel Lanois' deliberately arty, diffuse production has retreated into the mist, replaced by an uncluttered, resonant production that gives Dylan and his ace backing band room to breathe…

When Richard Maunder's editions get together with Christopher Hogwood and co, you know instantly that the result will be spot on. The sound of the boy treble line (singing alto as well) is earthy yet in tune, and well complemented by the strong lower parts. The orchestra is supportive yet unobtrusive. The dynamics and phrasing are all well chosen and executed. The choice of soloists is inspired, especially Arleen Auger - such a beautiful voice. It is just a pity that there is not more on the disc - some have argued in the 'Dona ut Kyrie' tradition that an Agnus Dei could be tacked on at the end using the music of the Kyrie. An excellent recording.

This CD, issued under license from Vanguard by Italy's Universe label (on their Comet imprint), is one of the handsomest re-releases of its kind ever to turn up on CD. The sound is fine – and it's so hard to find an unworn copy of Ballad for Americans and Other American Ballads that anything would be welcome – but the producers have taken special care to re-create the original artwork and annotation in all of it thoroughness in a mini-LP-style gatefold CD package that's neat, handsome, and respectful of the original release, and will probably last for decades on shelves. As for the music, the CD showcases four sides of Odetta's work – her gifts in art-song and conceptual music in "Ballad for Americans," her solo folk and blues singing in the accompanying studio sides, her way with an audience in a live setting with the Carnegie Hall tracks, with her singing in a choral setting on the final four tracks of that LP. It all sounds great, and could arguably be a best of Odetta, even if it isn't an official anthology of that type. It's just sort of a shame – and an enigma – that it takes an Italian-based label to give these recordings their due respect in the 21st century.

This is the debut long-player from the southern California-based Strawberry Alarm Clock – the title track of this album topped national singles charts in December of 1967. As the cover art might suggest, their image practically defined both the musical as well as peripheral aspects of the pseudo-psychedelic counterculture. However, below that mostly visual veneer, Strawberry Alarm Clock actually have more in common with other "Summer of Love" bands such as Love and Kak than the bubblegum acts they have long been associated with. Prior to Strawberry Alarm Clock, the band was initially named Thee Sixpence and issued a 45 – "In the Building" b/w "Hey Joe" – in the spring of 1966. As legend has it, none of the actual bandmembers sang lead on the hit single; the singer was in fact a vocalist named Greg Munford, who was attending the session as a visitor.

Collection of solo hits from the vocalist in Enigma & Arabesque. Sandra's solo recordings mix the atmospheric sounds of Enigma with the crisp, upbeat vibe of Europop. Outside of the U.S., she is musical royalty to millions of fans. Her albums appeal to fans of Dance Music, World Music and contemporary Pop. Although she is far more commercial than the Enigma recordings, she certainly will appeal to their fans as well. Features 18 tracks including 'Maria Magdalena', 'In The Heat Of The Night', 'Everlasting Love' and more.

With his chocolaty cool, soulful Memphis croon and sure sense of melody, Robert Cray has never been considered a straightahead bluesman. His often interchangeable albums have instead stayed closer to R&B, adding compact, stinging lead guitar to songs about matters of the heart. That formula remains, with minor variations, on Cray's 14th release, rather confusingly named Twenty. The title track, a gripping, emotional anti-war ballad of the experience of a GI in Iraq (that, incidentally, doesn't contain the word "twenty") shows the singer/songwriter shifting his emotionally charged storytelling lyrics to the political arena. It's a brief but confident detour from his usual M.O. of relationships on the brink of collapse or in general disrepair, typically related in the first person. Subtle yet effective forays into loungey jazz on "My Last Regret" and even reggae on the opening "Poor Johnny" indicate a healthy tendency to push his established envelope, if only gently, into other genres. But Cray sticks to his established bread and butter for the majority of this sturdy album, effortlessly churning out shoulder-swaying, foot-tapping R&B accompanied by a clean, clear tenor voice and a road-hardened band that finesses these songs with the perfect combination of fire and ice. Old fans won't be disappointed, and newcomers can start here and work backwards.

This is a glorious disc. Simply glorious. Anderszewski and Bach have long been congenial bedfellows and the Pole’s playing here is compelling on many different levels. To start with, there’s the sense of sharing the sheer physical thrill of Bach’s keyboard-writing. This is particularly evident in faster movements such as the fierce and brilliant fugal Gigue that concludes the Third Suite, or, in the E minor Fifth Suite, the extended fugal Prelude and the outer sections of its Passepied I. Common to all is a sense of being fleet but never breathless, with time enough for textures to tell.

Celtic Pink Floyd is a project devoted to the arrangement of classic Pink Floyd songs with a Celtic rock twist. Traditional instruments such as; uilleann pipes, fiddle, tin whistle, accordion, banjo, dulcimer, bodhrán, mandolin, and bones are utilized, as well as contemporary vocals, guitars, bass and drums. Started simply as a "crazy, but just may work" idea, Celtic Pink Floyd has some amazing vocalists and musicians contributing their expertise to this twelve-track CD. Arrangers, producers and musicians, Damon Stout & Brian Stout are the guilty parties behind the madness, all while working in conjunction with producer Michael Vail Blum to form a hybrid of traditional Celtic music combined with classic rock.

One of the more notorious albums in the history of vocal music, What a Diff'rence a Day Makes! is the lush session that bumped up Dinah Washington from the "Queen of the Blues" to a middle-of-the-road vocal wondress - and subsequently disenfranchised quite a few jazz purists. Washington had been praised in the same breath as Holiday and Fitzgerald for more than a decade, but Mercury nevertheless decided to back her with mainstream arrangements (by Belford Hendricks), heavy strings, and wordless vocal choruses similar to the radio hits of the day. Apparently, the mainstream backings didn't faze Washington at all; she proves herself with a voice as individual and evocative as ever. To be honest, the arrangements are quite solid for what they're worth; though it's a bit jarring to hear Washington's voice wrapped in sweet strings, the effect works well more frequently than not…

Marillion surprised the European market by earning Top Ten placings in the U.K. and Holland for its single "You're Gone" in the spring of 2004, but the comeback wasn't hard to figure if you listened to the record, which found the band making like U2, with a martial beat, a sustained, repetitive guitar figure, and Steve Hogarth keening, "You are the light," in his best impression of Bono. Elsewhere, Marbles, the band's 13th studio album in 21 years, for the most part recalled not so much U2 as a more long-standing influence, Pink Floyd. From the album cover and graphics in the CD booklet, which revealed the influence of Hipgnosis, the firm that did the same work for Pink Floyd, to the lengthy closing track, "Neverland," with its echoing vocals, Marillion, a group formed in the shadow of progressive rock progenitors like Genesis and Pink Floyd demonstrated that they had no trouble continuing the tradition…

At the dawn of the 21st century, the Neville Brothers may well be the greatest living institution of New Orleans R&B, but it took a long time for them to achieve such a lofty status, and the talents of Aaron, Art, Charles, and Cyril Neville had been scattered through a number of different groups (and a number of different record labels) over the space of three decades before they began to finally gain the nationwide recognition they richly deserved in the mid-'80s. Treacherous: A History of the Neville Brothers was the first compilation album to paint a reasonably accurate picture of the full scope of the Nevilles' accomplishment, and it still stands as the best introduction to their body of work. While it predates their acclaimed collaborations with producer Daniel Lanois on Yellow Moon and Brother's Keeper, it's a near-flawless representation of the Neville Brothers' earlier period (both as individuals and collectively), blending classic New Orleans R&B, smooth balladry, traditional second-line rhythms, potent Crescent City funk, and plenty of stops in between into a mighty and potent gumbo of joyous groove. Treacherous also cherrypicks the highlights from several unfortunately uneven albums, and flows more comfortably than many of the group's "real" albums. Anyone with even a passing interest in New Orleans music needs to check out the Neville Brothers, and this collection is as good a starter as anyone could hope for.

Neil Young There are not many people who have made such a long journey across eras and styles without their fans' devotion waning at all… Like David Bowie, Neil Young is one of those artists whose talent transcends genres and fashions. From dreamy folk to furious, cataclysmic rock, the Canadian singer-songwriter has mastered his art from end to end. But it is surely his writing that sets him apart as an artist. A real personality on the rock scene, he has been venerated by old hippies, budding punks, and cowboy rebels. Neil Young has found the perfect alloy of rock'n'roll, country, blues and folk.

Rules are there to be broken. Expectations are there to be defied. Glass ceilings are there to be shattered. Having spent the past decade carving out her own unique space in the male-dominated world of blues-rock, Ally Venable's combative sixth album, Money & Power, demands more of both - for herself, for women around the world, and for anyone else who thought they weren't worthy of a seat at the table.

The multi talented musician Jens Buchert from Stuttgart is one the most popular international producers from the German Downbeat, Ambient, Lounge, Chillout scene. He is known for his ambient and electronic music projects Space Night, Café Solaire, Pacha compilation, Ibiza Chillout, Sunset Chill, Savannah Beach Club and last but not least the Café Abstract series. As a musician, graduate of film and media science, video producer, sound engineer and music designer, Jens Buchert can be called a multimedia wizard. For more than 20 years he has been soaring and uniquely creative in his line of business - and there’s no end to his artistic energy. His delicious work wants to continue to shine into the bright future.