With the possible exception of Richard Pinhas' Heldon, Gilbert Artman's Lard Free was probably the premier French progressive group of the '70s. The prolific Heldon might win in terms of amount of material, but the three near-perfect albums by Lard Free (despite the truly wretched band name) probably have them beat in terms of overall quality. Although Artman, a drummer who also dabbles in synthesizers and piano, called Lard Free a group, he was the only constant member; all three albums have different lineups. 1973's Lard Free consists of relatively short pieces with prominent piano and saxophone parts, and as such is the most jazz-oriented of the three. The following year's I'm Around About Midnight consists of three long pieces with much more synthesizer; at times, it sounds almost like early (pre-ambient) Tangerine Dream, or perhaps Clear Light, the French collective Artman and the then-current lineup of Lard Free occasionally worked with around this time. 1977's Lard Free III, also known as Spirale Malax, is Artman's best work, a pair of side-long experiments that combine space music, jazz, and King Crimson-style heavy progressive rock better than many groups (including King Crimson) could ever hope to manage.

Hank Mobley was a perfect artist for Blue Note in the 1960s. A distinctive but not dominant soloist, Mobley was also a very talented writer whose compositions avoided the predictable yet could often be quite melodic and soulful; his tricky originals consistently inspired the young all-stars in Blue Note's stable. For this CD, which is a straight reissue of a 1965 session, Mobley is joined by trumpeter Lee Morgan, trombonist Curtis Fuller, pianist McCoy Tyner, bassist Bob Cranshaw, and drummer Billy Higgins (a typically remarkable Blue Note lineup) for the infectious title cut, three other lesser-known but superior originals, plus Wayne Shorter's "Venus Di Mildew." Recommended.

After a successful cycle of Chopin works for solo piano, exclusive Chandos artist Louis Lortie plays here works by Poulenc with his duet partner Hélène Mercier. In Aubade and the two concertos they are joined by Edward Gardner and the BBC Philharmonic.

A Distant Shore’ is a much loved indie classic. Freshly mastered at Abbey Road Studios with new sleeve-notes penned by Tracey, this 2024 edition is available on both vinyl and CD, a beautifully presented reminder of the album’s elemental beauty.
Released to critical acclaim on Cherry Red back in September 1982, Tracey's debut solo album is full of engaging, melodic tunes and heartfelt lyrics delivered with her distinctive warm vocals. Recorded for just £138 in a studio in a garden shed when she was a 19-year-old first-year student at Hull University, it is an astonishing demonstration of Tracey's songwriting talent, stripped down to vocal and semi-acoustic guitar.

Superproducer Daniel Lanois took a rare turn on center stage as a performer on his second solo release, For the Beauty of Wynona. Released in 1993, the album follows his earlier release, Acadie. Unlike that album, which had some superstar appearances, For the Beauty of Wynona is a more low-key affair and has a more subtle impact. Lanois has a limited range as a vocalist, but he possesses a warmth that draws in the listener. Producing himself, Lanois also is an accomplished guitarist, although his protégé, Malcolm Burn, also adds some guitar as well as keyboards. The music is often moody and watercolored, but there are some more upbeat moments like the jaunty melody of "Sleeping in the Devil's Bed," which has a country feel, and the single "Lotta Love to Give," which is wispy but anchored by twang guitar and has a catchy chorus and serrated guitar solo. For the Beauty of Wynona is not an immediately striking album but rather one that slowly grows on the listener. It also proves that Lanois has something to say on his own.

A deep yet unsentimental emotional resonance and a patient, contemplative view of time whether relating to harmonic rhythm or human experience are complementary characteristics that run through his instrumental, vocal and theatrical catalog like a red thread, the composer inspired by disparate spirits from Wagner and Satie to Cage and Silvestrov. The ECM New Series released multiple recordings of Bryars music in the 1980s and early 90s, including the classic albums After the Requiem and Vita Nova. The first full ECM album from Bryars in decades is The Fifth Century, which includes the seven-part title work: a slowly evolving yet immediately involving setting of words by 17th-century English mystic Thomas Traherne, performed by the mixed choir of The Crossing with saxophone quartet PRISM. The album also features Two Love Songs, luminous a cappella settings of Petrarch for the women of The Crossing. The music within words, the humanity in breath, the sense of eternity within a moment or of a moment in eternity all are at play in Bryars latest music on ECM.

Here is the Band Captured on their 25th Anniversary Tour (With the Original Mkii Lineup for Ardent Fans) Live in Birmingham, England. This Performance is the Same Concert that was Featured on the Dvd Presentation "Come Hell Or High Water". Just a Few Nights Later and Guitarist Ritchie Blackmore Would Desert this Monumental Reunion Tour, Never to Return to the Band Again. Thus, this Concert is to Be Held all the More Dear by Longtime Fans, as the Band was Tight and Consistently Hit their Marks on this Night. Drummer Ian Paice was Heard to Say "it Works Extremely Well Or it Doesn't Work at All". It Really Worked this Night!

Simply the Best Classical Passion: Music for Classic Lovers Review by James Manheim
The Shacking Up CD series is apparently doing well, for other discs purporting to double your pleasure have begun to appear. Warner UK's Classical Passion: Simply the Best Music for Classic Lovers doesn't give you detailed step-by-step instructions like some of the other releases in this category; the album just compiles, on two discs, a group of classical favorites, many of which have been considered sexy for a long time. Disc one, "Stimulate Your Senses," includes pieces in a variety of tempos and moods, while disc two, "For Those Tender Moments," stays on the mellow side. To be sure, there are some problems. Those who, to quote the Pointer Sisters, "come and go in a heated rush" won't be helped by the truncated (five minutes!!) version of Ravel's Boléro included here. And that flower vase on the cover would seem to be in some danger (except in the release's home country, of course). Despite these minor faux pas de coit, buyers of Classical Passion should make out just fine. And the music is well enough made that it might inspire some to rub up against these compositions once more for a more extended session.

Limited Edition. Special Edition. 3 CDs packaged in a cardboard box. Disc 1 (SP 70 - original album with restored version of track 1-1) packaged in blister pack. 2 discs of additional unreleased material (SP 50 and SP 60) presented in a paper folder. Discs are black. Includes "Patient Product Information" leaflet with credits - presented in the style of medicinal packaging. SP 50 and SP 60 mastered at Metropolis.

"After completing our first tour as a four-piece band in late 1966, Nez perceptively remarked that, 'Pinocchio had become a real little boy.' By the end of March 1967, Pinocchio had actually become quite a cool little dude (if I do say so myself) with the completion of Headquarters, the first studio album that we had been allowed to create entirely amongst ourselves. Monkee music was great music. Terrific songs crafted by gifted writers and produced by skilled producers. But Headquarters will always hold a special place in my heart. I remember the camaraderie, the collaboration, the enthusiasm and the occasional creative angst. And I particularly remember lying on the floor behind my drumkit between takes eating sunflower seeds.” - Micky Dolenz

Containing the band's first 5 classic albums, this collection serves as the ideal extended introduction for new fans, while offering an easy way to bolster or complete collections for existing fans. Starting with 1979's ‘Three Imaginary Boys’, it continues through to ‘Seventeen Seconds’, ‘Faith’, ‘Pornography’ & concluding with 1984's ‘The Top’.

This generous 16-song collection provides a comprehensive overview of Robert Palmer's many fine songs, from his early work as an eclectic white soul singer working in a number of styles, to his reign as MTV icon and rock's most sophisticated dresser.

"Ride Daddy Ride: Vintage Songs About Sex 1927-1953" is a compilation album that features a selection of early 20th-century songs with suggestive and risqué themes, dating from 1927 to 1953. The tracks on this album capture the humor, innuendo, and open references to sexuality that were part of the blues, jazz, and swing scenes of the time.

This is a great little set, coupling a ravishing Apollon musagète with a truly stunning Rite ofSpring. The Petrushka is equally fine. The fact that Stravinsky's revision of Apollon dispensed with 'half the woodwind, two of the three harps, glockenspiel and celesta from the original scoring' hardly constitutes the bleaching process that a less colour-sensitive performance might have allowed. Part of the effect comes from a remarkably fine recording where clarity and tonal bloom are complementary, but Chailly must take the credit for laying all Stravinsky's cards on the table rather than holding this or that detail to his chest.

NOW Music proudly presents the next chapter in the ‘NOW 12” 80s’ series – NOW 12” 80s: 1983 – Part Two - out 18th October 2024.
With 49 extended, full-length, or remixed versions, this collection spans the dynamic spectrum of the year, and is part of the vibrant journey through multiple genres of music the 12” single made during the 1980s, with this second instalment of 1983 featuring synth-pop and new-wave hits alongside the catchy grooves of pop-dance and disco. This essential compilation is perfect for both dancefloors and collectors.