Ennio Morricone (1928 - 2020) is a legendary institution among the film music composers of the 20th century. Behind the mainstream side of his production, hugely celebrated by critics and acclaimed by his audience, CAM Sugar focuses on a "Morricone Segreto" (Secret Morricone).

Between 1985 and 1991, John Fogerty roared back onto the live music scene, delivering a powerful resurgence that blended fresh solo hits with the timeless spirit of Creedence Clearwater Revival. After years away from the spotlight, Fogerty returned with fire in his soul and a voice that hadn't aged a day - reclaiming his place as one of rock's most electrifying performers. Homespun brings you a selection of three live radio broadcasts, revisited and remastered. First stop is the Showtime Special, on the A&M Soundstage, from Los Angeles on June 18th 1985 broadcast on WNEW-FM. From there we take a trip in 1989 to the Henry J. Kaiser Convention Center, Oakland, CA on November 26th 1989 with broadcast from KQED-TV. Finally, we finish with the Bill Graham Tribute Concert at Golden Gate Park, San Francisco, CA from November 3rd Broadcast in 1991 on KOLA 99.9 FM. Fogerty's live performances are characterized by their vitality and a seamless blend of his solo work with classics.

Between 1985 and 1991, John Fogerty roared back onto the live music scene, delivering a powerful resurgence that blended fresh solo hits with the timeless spirit of Creedence Clearwater Revival. After years away from the spotlight, Fogerty returned with fire in his soul and a voice that hadn't aged a day - reclaiming his place as one of rock's most electrifying performers. Homespun brings you a selection of three live radio broadcasts, revisited and remastered. First stop is the Showtime Special, on the A&M Soundstage, from Los Angeles on June 18th 1985 broadcast on WNEW-FM. From there we take a trip in 1989 to the Henry J. Kaiser Convention Center, Oakland, CA on November 26th 1989 with broadcast from KQED-TV. Finally, we finish with the Bill Graham Tribute Concert at Golden Gate Park, San Francisco, CA from November 3rd Broadcast in 1991 on KOLA 99.9 FM. Fogerty's live performances are characterized by their vitality and a seamless blend of his solo work with classics.

Yoko Ono's catalog isn't easy to navigate or even define at times. Even when John Lennon was on board as a collaborator – band member, producer or cheerleader – her music could be willfully difficult and stubbornly uncommercial. She's a singular artist, maybe more so than her late husband and his famous band, which makes any tribute to her vast recorded work an uphill charge not exactly suited for the easily intimidated. The 14 brave souls who tackle Ono's music on Ocean Child: Songs of Yoko Ono can't truly replicate her distinctive path, and much of the source material hinges on her artist's right to explore those paths via routes of her choosing. In other words, they're not songs in the traditional sense. There have been some interpretable tracks over the years: "Who Has Seen the Wind?," "Listen, the Snow Is Falling" and "Walking on Thin Ice" are close enough to pop music.

Fourteen tracks from Stephen Still’s First U.S. Tour, previously unissued and recorded Live at The Berkeley Community Theater in 1971.

An exclusive anthology of tracks made from samples originally produced at the legendary Warsaw electronic music studio. Issued to subscribers with The Wire 436 June 2020.

Solitude Standing: Live at the Barbican is a live album by the American singer/songwriter Suzanne Vega. It was recorded on 16 October 2012 at the Barbican Centre in London, on the final celebratory concert to mark 25th anniversary of her studio album Solitude Standing. Disc one is a live performance of a full album, second one contains other Vega's songs.

Cesaria Evora was a Cape Verdean popular singer. Nicknamed the "Barefoot Diva" for performing without shoes, she was also known as the "Queen of Morna". A native of the island nation of Cape Verde, Cesaria Evora was known as the country's foremost practitioner of the morna, which is strongly associated with the islands and combines West African percussion with Portuguese fados, Brazilian modhinas, and British sea shanties. Evora began singing morna at age 16 after meeting an attractive young guitarist. Her talent soon had her performing all over the islands, and in the late '60s two of her radio tapes were released as albums in the Netherlands and Portugal, respectively.

El Loco is the seventh studio album by the American rock band ZZ Top, released in 1981. The title means "The Crazy One" in Spanish. The band's guitarist/singer Billy Gibbons has said that the recording of this album was the first time the three members of the band were isolated from one another in the studio, rather than recording simultaneously in the same room. It also foreshadowed ZZ Top's synthesizer-driven direction later in the decade, with early experimentations in synthesizer backing on certain tracks.

Cheap Thrills, the major-label debut of Janis Joplin, was one of the most eagerly anticipated, and one of the most successful, albums of 1968. Joplin and her band Big Brother & the Holding Company had earned extensive press notice ever since they played the Monterey Pop Festival in June 1967, but for a year after that their only recorded work was a poorly produced, self-titled album that they'd done early in their history for Mainstream Records; and it took the band and the best legal minds at Columbia Records seven months to extricate them from their Mainstream contract, so that they could sign with Columbia. All the while, demand continued to build, and they still faced the problem of actually delivering something worthy of the press they'd been getting…

The potential for a collaboration between B.B. King and Eric Clapton is enormous, of course, and the real questions concern how it is organized and executed. This first recorded pairing between the 74-year-old King and the 55-year-old Clapton was put together in the most obvious way: Clapton arranged the session using many of his regular musicians, picked the songs, and co-produced with his partner Simon Climie. That ought to mean that King would be a virtual guest star rather than earning a co-billing, but because of Clapton's respect for his elder, it nearly works the other way around. The set list includes lots of King specialties - "Ten Long Years," "Three O'Clock Blues," "Days of Old," "When My Heart Beats Like a Hammer" - as well as standards like "Hold on I'm Coming" and "Come Rain or Come Shine," with some specially written and appropriate recent material thrown in, so King has reason to be comfortable without being complacent…

Swingin' Easy is one of Sarah Vaughan's lesser known albums for Emarcy, combining two separate trio sessions from 1954 and 1957. The earlier date includes pianist John Malachi (who also worked with singers like Dinah Washington, Billy Eckstine, and Al Hibbler, plus bassist Joe Benjamin and drummer Roy Haynes. Vaughan's lush ballad technique is in full force in "Lover Man," "Polka Dots and Moonbeams," and "Body and Soul," while she scats in a midtempo setting of "If I Knew Then (What I Knew Now)" and her own "Shulie a Bop." The second trio include pianist Jimmy Jones, bassist Richard Davis, and Haynes. Aside from a brisk, miniature treatment of "Linger Awhile" and a playful setting of "I Cried for You," the session is highlighted by a breezy "All of Me." Vaughan is in terrific form throughout both dates, with the songs mostly running around the three-minute mark.