Legacy's second reissue of Texas Flood, the 1983 debut from Stevie Ray Vaughan and Double Trouble, now expands the album to two CDs, adding a complete concert given at Ripley's Music Hall in Philadelphia on October 20, 1983, four months after the record was released. On the first disc, an early version of "Tin Pan Alley (aka Roughest Place in Town)" is added to the original album but that is the only carry-over from the 1999 expansion. That disc also had three live cuts, but those were taken from a different 1983 concert, so this 2013 30th Anniversary Edition offers something completely new: an entire radio broadcast featuring SRV and Double Trouble at the peak of their power.

Vocalion favourite Paul Mauriat makes a welcome return with a further two albums, Penelope (1972) and Holidays (1973), which presented quadraphonic remixes of 24 titles culled from his back catalogue. Originally produced for the Japanese 4DX series, this reissue makes them widely available for the first time. French composer/conductor Paul Mauriat is a classically trained musician who decided to pursue a career in popular music. His first major success came in 1962, as a co-writer of the European hit "Chariot." In 1963, the song was given English lyrics, renamed "I Will Follow Him," and became a number one American hit for Little Peggy March. Mauriat is best remembered for his 1968 worldwide smash "Love Is Blue."

This live double album features Coco Montoya and his band on the Road, as part of a RUF records series of on The Road albums delivered from their catalogue of blues artists. The opening track I Got A Mind To Travel, is an apt starting point and introduces us to the full band of musicians Coco Montoya uses to augment his vocal and guitar skills the use of Hammond Organ delivered with panache by Brant Leeper who also adds to the vocals. Throughout the album there are glimpses of Coco Montoya’s exceptional musical career especially the influence he certainly gives the feel of movement and the guitar sound is an homage to his old boss Albert Collins while playing the guitar left-handed and upside down like the other Albert King! Coco’s playing is instinctive full of fluidity. The whole album is easy on your ear and an enjoyable listening experience BUT at times you want Coco to let loose and really show us what he is capable of. On Love Jail his guitar takes on the shape and form of Albert Collins and all the better for it, even his vocals strengthen as the beat picks up, this is a stylish ten minute track. This album has fourteen tracks where Coco and his band just want to please as they play for the length of time need ( Never less than 5 minutes and up to a mighty 15 minutes) to explore all the alleyways and nooks and crannies they feel the music is taking them on their journey of discovery with you, there is freedom of expression that only live music free from the constrains of a studio walls and mixing desk.

From the first chord to the last word of Rua dos Amores, Djavan’s new album is an exciting collection of songs from the artist known for his unique style within the Brazilian music scene. Djavan has written the lyrics and melodies of all 13 new songs on the album and in addition, he is also responsible for all the final arrangements and production.

MiLagreiro was one of the most critically acclaimed MPB albums released in Brazil during the year 2001. The record starts off very well with the xote-styled opening track, "Farinha," which is perhaps the biggest highlight of the album. Another good song is "Infinitude," on which Djavan collaborated with Flбvia Virgнnia. On the excellent, somewhat Latin-flavored title track, Djavan is joined by rock singer Cбssia Eller. As usual, there are several typically Djavan-styled ballads on the album, such as, for example, the bossa nova-styled "Brilho da Noite." Generally, the music on Mi Lagreiro is quite simple and sparse, and it gives the impression of being very spontaneous. Perhaps the fact that the album was recorded at Djavan's own home contributed to this positive, unpretentious atmosphere.

2CD set featuring the very best of the legendary 1970 Boston Tea Party gigs from a band at the height of it powers. Featuring 'Black Magic Woman', 'Rattlesnake Shake' and 'Oh Well', 'Jumping at Shadows', 'World in Harmony'…

Parallel Dreams, the Canadian harpist/songwriter's quietly moving sophomore release, finds the mystical red-haired siren in true balladeer form. By far McKennitt's most romantic venture – the liner notes describe the project's central theme as a "yearning toward love, liberty and integration" – Dreams is more ambitious than her sparse, impeccably recorded debut, Elemental, tripling the amount of players and laying the groundwork for the immense scope she would go on to attain on future recordings. The heartbreaking trio of "Standing Stones," "Annachnie Gordon," and "Dickens' Dublin" – the latter features an effective radio-show sample of an unnamed Irish school child detailing the birth of Christ – stand among the artist's finest works, and the range and clarity of her voice is undeniably powerful. Parallel Dreams was an emotional and career-turning point for McKennitt, as her next recording would be the major-label spectacle The Visit.

Stereolab was poised for a breakthrough release with Emperor Tomato Ketchup, their fourth full-length album. Not only was their influence becoming apparent throughout alternative rock, but Mars Audiac Quintet and Music for the Amorphous Body Center indicated they were moving closer to distinct pop melodies. The group certainly hasn't backed away from pop melodies on Emperor Tomato Ketchup, but just as their hooks are becoming catchier, they bring in more avant-garde and experimental influences, as well. Consequently, the album is Stereolab's most complex, multi-layered record. It lacks the raw, amateurish textures of their early singles, but the music is far more ambitious, melding electronic drones and singsong melodies with string sections, slight hip-hop and dub influences, and scores of interweaving counter melodies. Even when Stereolab appears to be creating a one-chord trance, there is a lot going on beneath the surface. Furthermore, the group's love for easy listening and pop melodies means that the music never feels cold or inaccessible. In fact, pop singles like "Cybele's Reverie" and "The Noise of Carpet" help ease listeners into the group's more experimental tendencies.

As always with Tricky, the right idea for pop isn't necessarily just right for him. Beats, of course; songs, sure; a band, who could say no? And right, individual tracks connect pretty good–hot lesbian porn, you devil you. Yet though his soundscapes be obscure and forbidding, they're what he's great at; his rap affinities and rock dreams are off the point, especially in the studio. So the best thing about these shapely selections is that they remain obscure and forbidding as they stand up and announce themselves. Second-best is their scorn for criminal pretensions, always a boon from a borderline nihilist.