In this instance, "deluxe collection" denotes six songs that blues guitarist Peter Malick recorded with vocalist Norah Jones before she hit it big, a (previously released) EP's worth of material padded here into a two-disc, 31-cut set of radio edits, club mixes, dub mixes, and DJ remixes, with only eight of them previously unreleased. (There are nine versions of the set-opening "New York City" alone.) The material stretches itself pretty thin, as the equal billing given Jones with Malick (the only two members of the "Peter Malick Group" who appear throughout) aims to attract Norah Jones completists or tempt those who might confuse this with one of her own releases. Malick's four original compositions range from the psychedelic swirl of "Strange Transmission," given a girlish lilt by Jones, to the Rolling Stones/Velvet Underground propulsion of "Things You Don't Have to Do," on which the two duet. Jones rarely oversings the way Malick occasionally overplays, though a cover of Magic Sam's "All Your Love" finds Jones straining for emotive effect in a way that she never does on her own releases.

Had this been released in 1982, it would have been the third album for the Bugs Henderson Group. It was not released at that time, however, due to differing thoughts on its style. In 1998 the tapes were resurrected and the vocals were re-cut. Most of Backbop is good old-fashioned rock & roll. The strongest cuts are "Help Me," which blends sounds as diverse as '70s rock and Chet Atkins; "Love Junkie," which comes the closest to blues with some nice jazzy riffs that are lessened only by too much repetition; and "Thief of the Night," which sees Henderson at his fiercest, rocking out with all the speed and bends his fans cherish.

The first joint album from countertenor Philippe Jaroussky and guitarist Thibaut Garcia, À sa guitare takes it's name from a song by the 20th century French composer Francis Poulenc. But it's frame of reference is extraordinarily wide - both culturally and stylistically. It's 22 tracks range across 400 years and music by composers and songwriters from France, Britain, Austria, Italy, Spain, Brazil, Argentina and the USA. "The album is a journey between different cultures, different continents and different languages," says Philippe Jaroussky, "but each piece is a world in itself. The idea was to take some risks… sometimes moving to a completely different world between one track and the next." "We can evoke hugely different colours as we juggle between renaissance music and a song by Barbara," explains Thibaut Garcia. "It's our job to play with a palette of colours to produces something unique… We put a great deal of thought into the album, but we also put our hearts into it."

Carol Sloane's Romantic Ellington lives up to the title's promise, collecting some of Duke Ellington's most romantic songs, including "Come Sunday," "A Flower Is a Lovesome Thing," "Prelude to a Kiss," "In My Solitude," "Lush Life" and "Tonight I Shall Sleep." Sloane's vocals are both sultry and accomplished, completing the album's aura of worthiness.

After a strong showing in the early '70s, Skin Alley drastically changed their lineup (and shifted their musical gears a bit) for their final two albums, 1972's Two Quid Deal and 1973's Skintight. There was still a strong prog rock base to their songwriting, but their folk and rock tendencies came to the fore on these two records more than ever before. Their deft instrumental technique screamed "prog," but never overshadowed the songs with unnecessary noodling or overt showings of musical dexterity. And that's the thing - there are "songs" here. With most of the tunes clocking in under the four-minute mark, there's no room for overindulgence. The arrangements are concise and even the instrumental numbers show a deliberately sophisticated restraint. Tales from Topographic Oceans, this is not. In packaging these two fine albums together (along with two bonus singles), Castle Music has one-bettered the bootleg "greatest-hits" collections…

This was the first album released on the Provogue label in 1995 by 'Aussie' guitarist, vocalist and songwriter Rob Tognoni. Produced by fellow 'Aussie' and slide guitar maestro Dave Hole[who adds a touch of his magic to 'Itty Bitty Mama'] the guitar sound on this album is reminiscent of early AC/DC but Rob also makes great use of his wah wah pedal, plus he draws on a wider range of influences and in that respect has more in common with Rory Gallagher. You get the riff rock of 'The Good Die Young,' 'Is This Love' and 'Bad girl', the wah wah drenched 'Lil' Melody'and 'The Sinner' then theres the introspective feel of 'When I'm Alone' and 'Inside Your Window,' most of this is encapsulated on last track 'Don't Take Me' which carries a deceptively simple but stunningly effective bass line that conjures up an image of a big sky and a road that just goes on forever.

The always eclectic Maria Muldaur, whose previous albums have paid tribute to Shirley Temple and blues women of the '20s, takes another musical detour in this collection of songs associated with Peggy Lee. In addition to her cool, sexy, relaxed voice, Lee was arguably more talented than other vocalists from her era. As a songwriter she co-penned some of her own material, including the swinging "I'm Gonna Go Fishin'" with Duke Ellington, which features the witty double entendres that spice several other songs. Muldaur possesses a similar ability to purr ("Some Cats Know") or sizzle (an opening tour de force of "Fever" and "Black Coffee") without breaking a sweat. So this collection of 12 tracks, backed by a talented yet restrained eight-piece band, is a natural extension of her vocal strengths. The stylish, retro arrangements include vibes and big-band-styled horn charts that sound as authentic as if they were recorded in the '30s. Even though there are some finger-popping swing numbers (a zippy duet with Dan Hicks on Ted Shapiro's "Winter Weather" is especially peppy), a late-night, languid blues-jazz vibe dominates.

A brand new album of brand-new songs from the No. 1 R&B Group of All Time, The Temptations. Features tracks written and produced by Narada Michael Walden, the young hip-hop producer K. Sparks, longtime group member Ron Tyson, founding member Otis Williams, and the equally legendary Smokey Robinson, whose classic songs launched the group’s original hit streak. The new album release will coincide with Otis Williams’s 80thbirthday, and the Broadway return (and road show edition) of the hit musical, Ain’t Too Proud: The Life and Times of The Temptations.

Luther and Cody Dickinson started the North Mississippi Allstars in 1996 as a loose collective of like-minded second-generation musicians who shared a local repertoire and regional style. Over the years the lineup shifted by design, and each NMA record offered up a different combination of collaborators. Set Sail finds the brothers working with Jesse Williams on bass and Lamar Williams, Jr. for the first time. Set Sail, the North Mississippi Allstars' thirteenth album, follows 2019"s Up and Rolling, which was nominated for a Grammy Award for the Best Contemporary Blues Album in 2021. Set Sail continues the band's tradition of creating roots music that displays remarkable variety. With their latest record, NMA are able to build upon their self-described sound of Primitive Modernism. A melding of the new and the old, traditional and futuristic, crafted lyrics and improvisational music.

During Albinoni’s lifetime (1671-1751) four separate collections of sonatas with violin were published under his name, though only the Trattenimenti armonici Op.6 were prepared by their composer. The works in Op.6 have accordingly dominated the record catalogues and obscured the virtues of the others, which Federico Guglielmo presents here with his customary flair and feeling for the Italian Baroque which has previously yielded the much-praised Brilliant Classics collection of Vivaldi’s Opp 1-12 (95200) as well as the Op.1 Trio Sonatas (94789) by Albinoni himself.

Eric Gales is a blues firebrand. Over 30 years and 18 albums, his passion for the music and his boundless desire to keep it vital has never waned, even when his own light dimmed due to his substance struggles. Five years sober, creatively rejuvenated, and sagely insightful, Eric is ready for the fight of his career. Aptly, he calls his masterful new album, out January 2022 on Provogue/Mascot Label Group, Crown. The songs are delivered with clarity and feature Eric's personal experiences and hope for positive change. In addition, the 16-track collection boasts his finest singing, songwriting, and his signature guitar playing that burns throughout. Produced by Joe Bonamassa and Josh Smith, this is Eric at his most boldly vulnerable, uncompromisingly political, and unflinchingly confident.