With hits such as "Luka" and "Marlene on the Wall," folksy singer-songwriter Suzanne Vega helped pave the way for future artists the likes of Tracy Chapman, The Indigo Girls and Sinead O'Connor. This retrospective features all 16 of Vega's videos, including "Tom's Diner," "In Liverpool" and "99.9Fº." Extras include an alternate video of "Caramel," promotional videos for three of Vega's albums, a discography and a rarities archive.

Standing In The Breach, Jackson's fourteenth studio album, is a collection of ten songs, at turns deeply personal and political, exploring love, hope, and defiance in the face of the advancing uncertainties of modern life.

Digitally re-mastered four CD collection from the British Folk icons. The Charisma Years (1970-1973) comprises the five Lindisfarne albums that were released by the Charisma label. The set also includes B-sides, outtakes and several rare tracks taken from foreign LPs, most of which are appearing on CD for the first time. Features the albums Nicely Out of Tune (1970), Fog on the Tyne (1971), Dingly Dell (1972), Roll On, Ruby (1973) and Live (1973).

Watching The Dark contains 3 CDs with 23 live, rare and unreleased tracks spanning the years 1969-1992. Also included is a 24-page booklet with photos, a complete biography and a selected discography. Includes liner notes by Greil Marcus, Joe Boyd and Leslie Berman. This three-disc set contains too many rarities and flouts chronology too blatantly to function as a simple best-of. Rather, it's an eclectic overview that dips deep enough into the archives to appeal to the hardcore fans that make up most of Thompson's audience while featuring enough classics to operate as a de facto "Greatest Hits" for those unfamiliar with the unjustly hitless guitarist/singer/songwriter. Previously unreleased live cuts display Thompson's unrivaled way with his axe ("Can't Win," "Calvary Cross"). Fans of Thompson's folkier side will delight at never-before heard traditional tunes like "Bogie's Bonnie Belle" and "Poor Wee Jockey Clarke." There are even some previously unheard Fairport tracks for those who've been in on Thompson's special gift from the very beginning. If you love Thompson, you must own this.

Completists will be happy to own many of the rarities on this four-disc set, including Stevens's first demo session, an unreleased 1970 duet with Elton John, a cover of Fats Domino's "Blue Monday," and several choice live cuts from the late '70s. And it's nice to have an overview of the artist's entire career–from late '60s pop-star wannabe to '70s folk-rock superstar–in one place. But the difference between early Cat Stevens (despite composing hits for others) and post-Tea for the Tillerman Stevens is substantial. The two follow-up LPs were part of a trilogy of brilliance–both musically and lyrically–and any Stevens collection must start there. Nevertheless, surprises and some gems are to be found throughout all four discs–even his most recent recording (as Yusuf Islam) isn't bad. This box set also offers a choice opportunity to reassess a deserving career. (All royalties go to New York City relief victims and orphans and homeless families in underdeveloped countries.)

On his third album, Jackson Browne returned to the themes of his debut record (love, loss, identity, apocalypse) and, amazingly, delved even deeper into them. "For a Dancer," a meditation on death like the first album's "Song for Adam," is a more eloquent eulogy; "Farther On" extends the "moving on" point of "Looking Into You"; "Before the Deluge" is a glimpse beyond the apocalypse evoked on "My Opening Farewell" and the second album's "For Everyman." If Browne had seemed to question everything in his first records, here he even questioned himself. "For me some words come easy, but I know that they don't mean that much," he sang on the opening track, "Late for the Sky," and added in "Farther On," "I'm not sure what I'm trying to say." Yet his seeming uncertainty and self-doubt reflected the size and complexity of the problems he was addressing in these songs, and few had ever explored such territory, much less mapped it so well. "The Late Show," the album's thematic center, doubted but ultimately affirmed the nature of relationships, while by the end, "After the Deluge," if "only a few survived," the human race continued nonetheless. It was a lot to put into a pop music album, but Browne stretched the limits of what could be found in what he called "the beauty in songs," just as Bob Dylan had a decade before.

Three CD set from the Folk/Rock icon containing 44 of his best known tracks gathered together on one set. Includes 'The Times They Are A-Changin', 'Mr. Tambourine Man', 'Like a Rolling Stone', 'Positively 4th Street', 'If Not for You', 'Knockin' on Heaven's Door', 'Gotta Serve Somebody' and many others.

Beauty & Crime is the seventh studio album by singer-songwriter Suzanne Vega. It is her first album of new material since 2001's Songs in Red and Gray and her first for Blue Note Records. It was released on July 17, 2007. Beauty & Crime won the Grammy Award for Best Engineered Album, Non-Classical, on February 11, 2008. On Beauty & Crime, Suzanne Vega's Blue Note Records debut, the Manhattan native uses New York City as the backdrop for a collection of eleven new songs that juxtapose acoustic guitar-driven melodies with coolly synthesized beats; intensely personal lyrics with compelling, short story-like narratives; images of today's scarred cityscape with memories of Vega's old Upper West Side 'hood and Lower East Side haunts. The past commingles with the present, the public with the private, familiar sounds with the utterly new, just like the city itself. Making her first new studio album in six years, Vega says, "I feel like I really stretched my limits. I pushed myself out of my comfort zone–to sing in keys I wouldn't have sung in before, to work with different textures, to be unafraid of doing what ever sounded good to me. I wanted to make a modern classic."

While 99.9 F° is not the techno album that Suzanne Vega was rumored to be making, it does offer a significant departure from her previous contemporary folk albums. Vega uses more synthesizers and drum machines, often evoking a bizarre carnivalesque atmosphere on the album. Still, 99.9 F° is a folk album at heart; every song is steeped in traditional song form, and Vega's writing is strong. Fans of Vega's previous work might be taken aback, but those willing to listen to the album will find that she has produced one of her strongest yet.

The 1967-68 outtakes on The Place and the Time (Sundazed) were first released as bonus tracks on 2007 reissues of Moby Grape's Columbia LPs, including withdrawn versions of 1967's spectacular Moby Grape and '68s Wow. Here, on one CD, these rarities - among them rowdy audition tracks and Moby Grape outtakes - are a dynamic alternate portrait of the star-crossed San Francisco band at work, fusing pop, soul, blues and country with psychedelic zeal.

Solomon's Seal was an album recorded in 1972 by folk-rock band Pentangle. It was the last album recorded by the original line-up, before the band split in 1973. Jacqui McShee has stated that it is her favourite Pentangle album. The album title refers to the Seal of Solomon - a mythical signet ring with magical powers, sometimes associated with the pentagram symbol adopted by Pentangle.

15 CD collection includes: Spoke (1997); The Black Light (1998); Hot Rail (2000); Even My Sure Things Fall Through (2001) EP; Feast Of Wire (2003); Convict Pool (2004) EP; Black Heart (2004) Maxi Single; In the Reins (with Iron And Wine) (2005) EP; Garden Ruin (2006); Carried To Dust (2008); Algiers (2012); Edge of the Sun (2015); The Thread That Keeps Us (2018).

Definitive 2 CD best-of collection from cult Anglo-Australian folk-pop group best known for their international smash hit 'I'd Like To Teach The World To Sing'. In their heyday between 1970-74 they were one of the biggest bands in the world, selling over 25 million records, and this release revisits that period. It includes the aforementioned classic and has been hailed by fans for finally bringing together all their top tunes, including some never before available on CD. 52-tracks in all.

Live Grape is a 1978 album by Moby Grape, released by Escape Records, of live performances of the band at two venues in California, the Shady Grove in San Francisco and the Inn of the Beginning in Cotati. The album features core members Peter Lewis, Jerry Miller and Skip Spence. Original members Bob Mosley and Don Stevenson did not participate in the recordings, though Bob Mosley did appear with the band on occasion during this period. At the time, band members were in a protracted legal dispute with former manager Matthew Katz over ownership of the Moby Grape band name. As a result, Moby Grape is not named anywhere on the cover. The album was originally released by Escape Records in 1978. It was reissued on CD by Line Records in 1994 and Akarma Records in 2007.

Pentangle were always great at creating musical fusions, and on this album, they once again came through. The opening song, "Wedding Dress," is a fabulous meeting of Celtic, country, and, believe it or not, funk. It's one of the few songs of theirs that actually rocks. The rest of the record is classic Pentangle, with Bert Jansch's and John Renbourn's acoustic guitars intermingling so well that it would make even Neil Young and Stephen Stills a little envious. Jacqui McShee, as usual, has some exquisite vocal moments, namely the previously mentioned "Wedding Dress" and an excellent reading of "Will the Circle Be Unbroken." This track shows how the group was further exploring new musical ground, this time with traditional American folk/gospel. The group's rhythm section of Danny Thompson (upright bass/cello) and Terry Cox (percussion) – easily one of the most inventive on the planet – shines on every cut, creating solid ground for Renbourn, McShee, and Jansch to do their high-wire act on vocals and guitar. One of their finest all-around albums.