The rapid pace of recording in the early to mid 1960s meant that a lot of material fell by the wayside. However, the quality of the songs and performances at hand were not necessarily the cause. »Left In The Can« spotlights tracks that were recorded by hit recording stars (1960 -1969) but didn't manage to receive a contemporaneous release. Imagine a collection full of instantly recognizable tunes that you've never heard from the likes of Roy Orbison, Bobby Vee, The Ronettes and many others. 30 tracks with 18 tracks in stereo and a full colour 16 page booklet with rare pics and liner notes.

For this second recording in duo, Lucile Boulanger and Arnaud de Pasquale propose a journey to 18th-century Germany, in the marvellous setting of the Sans Souci palace where Frederick II of Prussia had established his court. This disc, reflecting the extraordinary conjuncture experienced by the court of Berlin under Frederick II, brings together some of the virtuosic works for viola da gamba and fortepiano by Carl Philipp Emmanuel Bach, Johann Gottlieb Graun or Ludwig Christian Hesse and attesting to the results of fruitful collaborations between the composers at that court.

John Dowland is one of England’s greatest composers. In his lifetime, he was acknowledged as an outstanding lutenist, and his songs have always been popular. Dowland’s distinctive hallmark as a songwriter is his uncanny skill at creating a suitable musical atmosphere for a poem. In 1610, John’s son Robert Dowland (1591-1641), a minor composer of the time, assembled a collection of works by third-party composers entitled A Musicall Banquet and put his own name to it. His father is the most famous of the composers included; there is a suggestion that he helped his 19 year-old son with assembling the collection, hoping that the attribution would launch the young man's musical career. The musical net of the collection is cast wide, with French and Italian composers as well as English. It was the first collection of lute songs to take this approach, presenting a cross-section of European solo songs c.1600.

To compile this list we asked the fans of the top songs they would like to hear on tour. Voila! We also included a song from our last CD. Hey Boys Sing Us A Song has become a new anthem for our time, which resonated with audiences across the country this year as we toured Canada from Halifax to Vancouver. Song #17 is teaser for our next album. 'Belfast Boozelleers' will be on “The Belfast Sessions” CD coming later this year.

Caravelli, real name Claude Vasori (12 September 1930, Paris, † 1 April 2019, Le Cannet) was a French orchestra leader, composer and arranger of orchestral music. The son of an Italian father and a French mother, Vasori was initially instructed in music by his mother in piano and voicing/harmony at seven years old, and later, when he was thirteen he began to attend the Paris Conservatoire. Caravelli is named "Caravelli And His Magnificent Strings" for the UK, US, South American and Japanese markets (from 1966), not to be confused with Caravelli Et Ses Violons Magiques for the French market (from 1960 to 1966).

Black Light is the sixth studio album by English electronic duo Groove Armada. It combines the more mainstream-oriented sound of its predecessor, Soundboy Rock, with the rock spirit of Lovebox, and the band makes use of 1980s synthesizers for the first time. The album is influenced by David Bowie, Fleetwood Mac, Gary Numan, New Order and Roxy Music. The vocal collaborations on the album include Bryan Ferry, Fenech-Soler, Jess Larrabee, Nick Littlemore, Saint Saviour and Will Young. 15th anniversary re-press after being unavailable for some time!

Eight songs played solo piano, alternative versions of some of the songs from Dardust's latest album of the same name, released in November, a work that challenges the conventions of neoclassical/contemporary music, breaking down the boundaries between the arts and uniting music and architecture. Urban Impressionism is the matching folio of the eponymous new recording project by Italian composer, producer and pianist Dardust. He once again challenges the conventions of neoclassical/contemporary music and does so, as is his wont, by breaking down the boundaries between the arts, uniting music and architecture, harmonising contrasts but starting from new sources of inspiration. On the one hand, the architectural geometries of urban suburbs, from brutalism to post-modernism, which in music are translated into genuine expressions, forged without recourse to embellishments or production artifices; on the other, the rapid brushstrokes of pictorial impressionism, reflected in his approach to composition. Dardust explores new urban scenarios through journeys and sound recordings in the suburbs of different cities and does so by modelling himself on the Impressionists' ability to paint scenes of modern life in the open air, depicting reality subjectively and emphasising personal and immediate perception rather than precision detail.

Overshadowed by his father, Johann Sebastian, and his brothers Carl Philipp Emanuel and Johann Christian, the music of Wilhelm Friedemann Bach provides a bridge between the high art of the first and expressive tendencies of Sturm und Drang. His Harpsichord Concertos, as performed here by Maude Gratton [of the Ricercar Consort] and Il Convito, offer a very successful synthesis of these two trends.

Arto Tunçboyacıyan is a Grammy winning American musician of Armenian descent. An avant-garde folk artist (singer, multi-instrumentalist), he appeared on more than 200 records in Europe before arriving in the United States, where he went to work with numerous jazz legends including Chet Baker, Marc Johnson, Al Di Meola, and Joe Zawinul as well as a semi-regular stint with Paul Winter and the Earth Band. Arto fronts his own group called the Armenian Navy Band. Tunçboyacıyan's 2001 album Aile Muhabbeti was used as soundtrack in two films: Hemşo (2001) and Mon père est ingénieur (2004).

It's been a long time since Marilyn Manson truly seemed like a transgressive force, but when you spend a lifetime crafting a persona as a rock & roll boogeyman, it's not only hard to shake that image, it's unlikely that you'd want to shake it. Manson has never shown any indication that he's wanted to change, which somehow came as a surprise to his betrothed, burlesque diva Dita Von Teese, who according to published reports in the wake of their divorce seemed shocked, shocked that Manson wanted to stay up late and take drugs, the kind of eternally adolescent behavior that only rock & roll stars can get away with as they approach 40. Better for Marilyn to sever that marriage and turn toward a true teenager: Evan Rachel Wood, the blandly pretty star of Thirteen who provided MM with a brand-new muse for Eat Me, Drink Me, his sixth studio album…

The Magic Time Machine of Love finds Nashville's Burrito Brothers-Chris P. James (vocals/keys), Bob Hatter (guitars), Tony Paoletta (pedal steel) and Peter Young (drums)-pushing cosmic-American music into tomorrow with eleven tracks that mingle fresh songwriting with daring reinventions: Gram Parsons' voice, isolated via the same AI technology used on the Beatles' "Now and Then," soars alongside the band on "Pride of Man" and "More and More," while Procol Harum's "A Whiter Shade of Pale" appears in a lush country-soul arrangement restoring Keith Reid's unused verses. Original Flying Burrito alumni Jon Corneal and Ian Dunlop swagger through "Used to Do," steel-guitar legend Al Perkins adds shimmer to "More and More," and the James Brothers lend harmonies to a twang-kissed cover of the Beatles' "What Goes On." From the progressive-country sweep of "Tales of Desire" to the vintage Bakersfield snap of "Love Blast," this limited-edition CD bridges past and present, expanding the Burrito legacy while honoring the genre's richest traditions.

Jackie Mittoo"s "Reggae Magic" is a new collection from the great Jackie Mittoo. The album features a mixture of classic tunes and rarities from the period 1967-74, when Mittoo was at the height of his musical powers.Mittoo"s solo career began after the end of The Skatalites in 1965. He began pushing new musical boundaries, creating a uniquely identifiable organ-led funky reggae sound that owed as much to Booker T and The MGs, Jimmy Smith, Stax and Motown as to the post-ska and emergent rocksteady island rhythms of Kingston, Jamaica.His solo work at the legendary Studio One spanned seven albums and hundreds of singles. Aside from producer and founder Clement "Sir Coxsone" Dodd, it"s hard to think of anyone more central to the sound and success of Studio One than Mittoo; keyboard player extraordinaire, songwriter, arranger, musician, truly the Keyboard King at Studio One.

Everlasting was one of Natalie Cole's best '80s albums. The title track was written and produced by the hit production duo of Jerry Knight and Aaron Zigman. Produced by Reginald and Vincent Calloway (Midnight Star), the number two R&B hit "Jump Start" is a slab of slammin' squishy funk, with some parts sounding like "No Parking on the Dance Floor." Burt Bacharach and Carole Bayer Sager contribute the smooth "Split Decision," and the lightly swinging "In My Reality." Cole gives one of her best performances, covering one of her famous father's classics on the Marcus Miller-produced "When I Fall in Love." She also skillfully covers Bruce Springsteen's "Pink Cadillac." Cole co-wrote and co-produced the light, samba-tinged "More Than the Stars," which is in the same vein as "La Costa," from Thankful.

Loose and spontaneous, this (mainly) live album is a meeting of three of the greatest guitarists in the world for an acoustic summit the likes of which the guitar-playing community rarely sees. Broken up into three duo and two trio performances, Friday Night in San Francisco catches all three players at the peaks of their quite formidable powers.

In the wake of Madonna's success, many dance-pop divas filled the charts, but out of them all, Paula Abdul was the only one who sustained a career. The former L.A. Lakers cheerleader and choreographer scored her first hit in 1989, when "Straight Up" shot to Billboard's number one spot, becoming the first of four U.S. chart-toppers from her 1988 debut, Forever Your Girl; the others were "Forever Your Girl," "Cold Hearted," and "Opposites Attract," each earning a gold certification from the RIAA. This success laid the groundwork for her second act as a judge on American Idol, the televised singing competition that began in 2002 and kept Abdul in the spotlight throughout the decade.