Though steel guitarist Freddie Roulette was pictured on Tennessee Woman, he did not play on the album; luckily he is given ample space here, and the combination of his eerie vocal-like sound, Jack Myers's solid but adventurous bass playing, and Skip Rose's jazz piano voicings made this edition of the Musselwhite band one of the most original blues outfits ever. Charlie is in fine form as well, on a rock-solid cover of Muddy's "Trouble No More," and a lyrical reading of "Willow Weep for Me," and his harp tour de force "Arkansas Boogie."

2022 marks the 25 year anniversary of the release of Mansun's debut, the iconic #1 album Attack of the Grey Lantern. The much-loved and experimental piece of music is at the heart of fervent cult following for the British group. To celebrate, Kscope presents Paul Draper’s 2018 performance of the album in full.

Snowy White is one of a handful of classic blues-orientated British electric guitar players - musicians whose sound, technique and style has echoed the originality of the blues with the excitement of contemporary rock. When recording his many solo albums Snowy White has always gone his own way. Driving On The 44 is a further example of how he has matured and developed over the years. Ten great tracks of relaxed riffs, cool grooves and soulful blues. Snowy White is a man who has nothing to prove but who can still play hot and smoky guitar. Check out the soaring solo on 'Keep On Flying,' the long and edgy workout on 'Blues 22', the mellow guitar sounds on 'Freshwater', and the expressive 'Longtime Blues'. Snowy White - it's all in the music!

2017 two CD set inspired by Lux And Ivy's record collection, a veritable stash of cool and super groovy sounds. Featuring 60 super strange songs originally released on vinyl back in the late '50s and early '60s. Including demented doo-wop, insane instrumentals, monsters and cavemen, canned laughter, loungecore weirdness, raucous rockabilly and out-there beatnik anthems. Jam packed with no hit wonders that fetch maximum dollars on vinyl. Selected from The Cramps' gargantuan record collection, radio shows and interviews over the years, it's a hi-octane romp through the best in obscure and magnificent wax from the greatest period of American music. Remastered from the original sound sources.

Superb 60-track compilation features "My Baby Just Cares For Me", "Don't Smoke In Bed", "He's Got The Whole Word In His Hands", "I Want A Little Sugar In My Bowl", "Plain Gold Ring" and more standards.

The shock of the new meets old-school synths, free-form rock, gutbucket blues and harmolodic funk in sax master Kjetil Møster’s eponymous group’s incredibly various, genre-defying new studio album. Møster!’s latest edition is a Norwegian supergroup featuring Motorpsycho guitarist Hans Magnus Ryan (aka Snah), one-time Motorpsycho and Grand General drummer Kenneth Kapstad, Nikolai Huengsle (of The National Bank, Elephant 9, Big Bang and Needlepoint) on electric bass and electronics, plus legendary studio-boffin Jorgen Træen, who also acts as engineer, on modular synths and lap steel guitar. Kjetil Møster plays sax, clarinet, electronics and percussion.

The continuation of our survey of Moscheles piano concertos brings us to three works which have never been recorded before. The 1st Concerto, written in 1819, is a very Mozartean affair; though the young composer had become a friend of Beethoven it seems the example of that composer's last three concertos hadn't been followed, instead we have a work full of charm, grace and untroubled lyrical melody.

A strange phenomenon with anthemic hard rock bands is that when they begin to mature and branch out into new musical genres, they nearly always choose to embrace both the music and spirituality of the East and India, and Pearl Jam is no exception. Throughout No Code, Eddie Vedder expounds on his moral and spiritual dilemmas; where on previous albums his rage was virtually all-consuming, it is clear on No Code that he has embraced an unspecified religion as a way to ease his troubles. Fortunately, that has coincided with an expansion of the group's musical palette. From the subtle, winding opener, "Sometimes," and the near-prayer of the single, "Who You Are," the band reaches into new territory, working with droning, mantra-like riffs and vocals, layered exotic percussion, and a newfound subtlety. Of course, they haven't left behind hard rock, but like any Pearl Jam record, the heart of No Code doesn't lie in the harder songs, it lies in the slower numbers and the ballads, which give Vedder the best platform for his soul-searching: "Present Tense," "Off He Goes," "In My Tree," and "Around the Bend" equal the group's earlier masterpieces.

Originally recorded for Capitol Records in his pre-Hee-Haw days (1963), this is Roy Clark's instrumental album, an all-guitar fest that showcases the country artist's amazing chops. Kicking off with a warp-speed version of "Twelfth Street Rag" that actually gets doubles in tempo by the final chorus, this album features a brace of generic "twistin''' instrumentals (read: public domain tunes given a twist beat) like "Texas Twist," "Weeping Willow Twist," "Wildwood Twist" ("Wildwood Flower"), "Golden Slippers," and "Over the Waves," rocked up cha-cha's like "Pink Velvet Swing" and Bob Wills' "A Maiden's Prayer," and boogies like the closing "Chicken Wire." Produced by Ken Nelson and sounding for all the world like it was cut in a single afternoon session, this should open up anyone's eyes and ears who thinks of Roy Clark only as a belly scratchin' fool, telling corny jokes and singing sappy love ballads.

Countertenor performances of 19th century opera are a historical and, ultimately, true novelty. This said, for those who love the sound of the countertenor voice and want to give it a try, there are several factors that recommend this release by countertenor Franco Fagioli, with the small orchestra Armonia Atenea under George Petrou. First is that castrati were still around in Rossini's time, although on the decline, and the composer was reportedly intrigued by their voices. Second, Fagioli, unlike the vast majority of other countertenors, studied bel canto singing rather than Baroque repertory exclusively, and a certain distance present in the work of other countertenors is absent here. And third, and most important, is Fagioli's voice itself. Of the countertenors active today, he's the one with the range, the power, the attitude to make you suspend disbelief and think for a moment that you're actually listening to a castrato. He enters into the various Rossini roles represented on this recording, several of which were mezzo-soprano "pants" roles; this adds to the layers of identity-switching happening, and the parts hit Fagioli's vocal sweet spot. A bonus is that several of these are from Rossini opere serie that are little played or recorded.

Expanding the latent arena rock sensibilities that peppered Kiss Me, Kiss Me, Kiss Me by slowing them down and stretching them to the breaking point, the Cure reached the peak of their popularity with the crawling, darkly seductive Disintegration. It's a hypnotic, mesmerizing record, comprised almost entirely of epics like the soaring, icy "Pictures of You." The handful of pop songs, like the concise and utterly charming "Love Song," don't alleviate the doom-laden atmosphere. The Cure's gloomy soundscapes have rarely sounded so alluring, however, and the songs - from the pulsating, ominous "Fascination Street" to the eerie, string-laced "Lullaby" - have rarely been so well-constructed and memorable. It's fitting that Disintegration was their commercial breakthrough, since, in many ways, the album is the culmination of all the musical directions the Cure were pursuing over the course of the '80s.

Powerful, subtle, beautiful tone, musical intelligence and a few individual tricks that leave other harp players shaking their heads in wonderment. Carey Bell is perhaps most famous for his many stints with Muddy Waters but has also been developing his own career since the 1960s. He may never have had a big label ‘push’ but he's still very much the uncrowned king of Chicago Blues harmonica playing. The material here was recorded under a variety of circumstances and Blues musical settings. Some with his sons, still a band too tough (in every sense) for U.S. labels to mess with and some with truly sympathetic British musicians. Listen out too for Lurrie Bell, Carey's son and an awesomely talented Bluesman in his own right…

Three years in the making (which was considered an eternity in the '70s), the Eagles' follow-up to the massively successful, critically acclaimed Hotel California was a major disappointment, even though it sold several million copies and threw off three hit singles. Those singles, in fact, provide some insight into the record. "Heartache Tonight" was an old-fashioned rock & roll song sung by Glenn Frey, while "I Can't Tell You Why" was a delicate ballad by Timothy B. Schmit, the band's newest member. Only "The Long Run," a conventional pop/rock tune with a Stax Records R&B flavor, bore the stamp and vocal signature of Don Henley, who had largely taken the reins of the band on Hotel California…