Monolith of Phobos is the debut studio album by The Claypool Lennon Delirium consisting of American multi-instrumentalists Sean Lennon and Primus' Les Claypool, released on 3 June 2016.

In follow up to his award-winning 2018 album, "Back In Business," Frank Bey powerfully asserts his career status with All My Dues Are Paid. Co-written with Nola Blue Records label mate Kathy Murray, album producer Kid Andersen and co-producer Rick Estrin, the uptempo title track for his sixth album is a celebration of the unstoppable journey of soul bluesman Frank Bey. Recorded at Greaseland Studios in San Jose, California, Bey is accompanied by an elite group of musicians including multi-Grammy winners Jim Pugh (keyboards) and Jerry Jemmott (bass); multi-Blues Music Award nominee Nancy Wright (saxophone); drummer Derrick D'Mar Martin (Little Richard) and percussionist Vicki Randle (Tonight Show band).

No doubt, this is one of the pinnacles of Abbado and the LSO recording collaboration; these symphonies are presented with a keener sense of joy, bite and forward momentum, perfectly executed throughout by the orchestra. As supplement, the set brings the Scherzo that Mendelssohn orchestrated to become a new 3rd movement of the Symphony no.1, as well excellent performances of 3 overtures, including the famous Hebrides. Note that this is the first edition of the set; there's a recent one that comes with more overtures, that were originally released in a separate cd.

Three sessions taken from different periods are included, featuring different versions of the Lighthouse All-Stars. Howard Rumsey's group is heard on their second earliest session (their first was made for the tiny Skylark label), which was also their debut for Contemporary. The band at the time consisted of trumpeter Shorty Rogers, trombonist Milt Bernhart, Jimmy Giuffre and Bob Cooper on tenors, pianist Frank Patchen, bassist/leader Rumsey, and drummer Shelly Manne. In addition to cool jazz numbers, they perform the satirical R&B romp "Big Girl" and (with Carlos Vidal on conga) the rhythmic "Viva Zapata." In addition, the 1953 version of the band (with trumpeter Rolf Ericson, altoist Herb Geller, Cooper, Bud Shank on baritone, pianist Claude Williamson, drummer Max Roach, and Rumsey) has a couple of straight-ahead numbers and a couple of Latin ones…

This new release features Schumann violin sonatas played with period instruments, including an Anselmo Bellosio violin, ca. 1770 with Gut strings and an Erard piano, serial number 32602, built in 1862. Maalismaa and Holmström have worked as a duo since 2011. They are co-directors of both the Ristiveto Festival, which specializes in performing late 19th-century music on period instruments, and the Classical Hietsu concert series in Helsinki. Finnish violinist Eriikka Maalismaa plays in a variety of ensembles and collectives and visits frequently as leader of orchestras. She is fascinated by saying Yes to things that scare her. Performing music of our time as well as collaborating with composers is one of her biggest interests.

Having gotten familiar with each other and the public on Wonderland, Clarke and Bell aim their sights higher with its follow-up, a more distinct all-around album. Flood once again mans the production boards, helping bring out Clarke's greater number of individual touches and approaches to great effect. It can be the queasy synth whoosh on "Don't Dance," the chunky pseudo-guitar blasts on lead track and single "It Doesn't Have to Be," or the funhouse keyboards on the title song, a cautionary environmental tale, all testaments to Clarke's ever-strengthening pushback of synth-pop's presumed sound and cliches. Bell in turn is finding more to do with his voice, his breathy crooning more seductive and affecting, while his high-volume calls to musical arms generally avoid hyper-ear-piercing levels in favor of general appeal…

George Jones - The Complete United Artists Solo Singles (2013) {Omnivore Recordings ‎OVCD-55 rec 1962-1966}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 455 Mb | MP3 @320 -> 190 Mb
Full Artwork @ 300 dpi (png) -> 44 Mb | 5% repair rar
© 1962-66, 2013 United Artists / Omnivore Recordings | OVCD-55
Country / Honky Tonk / Nashville Country / Country Gospel / Country Pop

Unlike Razor & Tie's 1997 double-disc collection She Thinks I Still Care: The George Jones Collection (The United Artists Years), Omnivore's 2013 set The Complete United Artists Solo Singles focuses directly on the 45s George Jones released for United Artists between the years 1962 and 1966 (he was only with the label until 1964 but they churned out singles for another two years after his departure). This is a bigger difference than it may initially seem. The 40-track She Thinks I Still Care sampled generously from Jones' duets with Melba Montgomery, his tributes to Bob Wills and Hank Williams, his bluegrass and gospel LPs, which meant there were several singles absent from its track listing.

We released Volume I of the Robert Shaw Chorale’s Christmas Hymns and Carols to rapturous response from lovers of Christmas music everywhere, so following it up with Volume II was a natural. Indeed, this second volume of Christmas carols—presented, like on its predecessor, in a series of medleys—perfectly complements the first volume by casting its eye a bit farther afield in search of repertoire suited for the brilliant arrangements of Fred Waring protégé Shaw and his longtime collaborator, Alice Parker. So, instead of the well-worn “O Come All Ye Faithful”/”The First Nowell”/”O Little Town of Bethlehem” medley that led off Volume I, here a medley of “I Saw Three Ships”/”O Tannenbaum”/”Allon, Gay Gay Bergeres”/”The Holly and the Ivy” leads off, followed by “Fum, Fum, Fum”/”Hacia Belén”/”Ya Viene La Vieja”/”La Virgen Lava Pañales,” and more relatively unfamiliar fare, all flawlessly and fervently rendered by The Chorale.

Robert Shaw was a Fred Waring protégé who, by the end of his 17-year tenure heading The Robert Shaw Chorale, had fashioned arguably the most widely-known and respected professional choral organization in the United States. The Chorale recorded a number of charting albums, all for RCA Victor, but the one that will always be considered their definitive recording is this Christmas album, presented here in its 1957 re-recorded stereo version (like a lot of popular Christmas albums of the day, Christmas Hymns and Carols had several incarnations, first appearing in the ‘40s as a box of four 78 rpm discs). The album went to #5 on the charts in 1949 and 1957, then hit the charts another three times during the ‘60s; one could argue that, with its seamless medleys and majestic harmonies, it is to this day the gold standard for choral Christmas recordings.

The long-awaited fully expanded 2 CD edition of US pop starlet MARTIKA’s hit 1991 sophomore album MARTIKA’S KITCHEN – remastered, repackaged and reheated!