When Taj Mahal and Keb' Mo' released TajMo in 2017 and toured the world, they fully intended it to be a one-off. Even as they resumed solo careers, neither could forget the merits of that partnership; they wondered if there was still magic between them in the studio. Room on the Porch answers in the affirmative. For the sake of creative possibility, they decided to write and record the material together in a studio. Over two weeks, Mahal, Mo', and their chosen collaborators worked in a Nashville studio and emerged with Room on the Porch, a solid set of seven originals and three covers co-produced by the pair. It's an intimate, warm, informal album full of laid-back good vibes and great songs.
The title-track opener, co-written with vocalist Ruby Amanfu, is a good-time acoustic rag blues buoyed by B-3, upright bass, fiddle, and resonator guitars in a welcome to a new guest and friend…

Thin Lizzy was originally conceived as a power trio in the image of Cream and the Jimi Hendrix Experience, but Eric Bell lacked the charisma of those groups' guitarists, forcing vocalist/bassist Philip Lynott to take center stage from day one. Despite his already poetic, intensely personal lyrics, Lynott was only beginning to develop as a songwriter, and the band's unfocused, folk-infused early efforts are a far cry from their mid-'70s hard rock glory. Recorded on a shoestring budget, their self-titled debut is surprisingly mellow; many songs, such as "Clifton Grange Hotel" and "The Friendly Ranger of Clontarf Castle," sound confused and unfinished.

Greatest-hits albums are a traditional way of buying time for artists between albums. Peter Gabriel's, entitled Shaking the Tree: Sixteen Golden Greats, arrived in December of 1990, as he was toiling away at the follow-up to his smash So, which was four years old at that point. As greatest-hits albums go, it's pretty good, containing all the hits, plus an effective re-recording of "Here Comes the Flood" and a good new song in the form of the title track. While the sequencing may leave something to be desired – it is neither chronological, nor as supple as a good mix tape – it does contain nearly everything a casual fan could want (nothing from the second album, though; both "On the Air" or "D.I.Y." would have been nice additions), making it an effective sampler.

This is one of nearly a dozen anthologies of Manfred Mann's music that cover their EMI period, and the 25 songs here make it the biggest of them. Additionally, there is an 11-minute interview with the band here, dating from December of 1964, that has never before appeared on record in the United States. The hits are all here, sometimes in more than one version, along with a cross-section of album tracks and B-sides, and it all sounds very good, though EMI's recent 24-bit remasterings of the band's original British LPs are much more impressive. But this CD misses being "definitive" because it leaves out some key B-sides to their early singles and overlooks the contents of several top-selling British EPs.

Joseph Martin Kraus, also named as the "Swedish Mozart", has been many years a shadowy existence in music history. Gluck and even Joseph Haydn saw "a real genius" in his virtuose and nearly early-romantic works. His position as composer at the swedish court under Gustav III. made it possible to have a fix income and a blithe creativity. This CD-Set gives us an overall musical impression about his compositions in all genres: Beginning with the incidental music to Amphitryon, the high virtuos Italian Cantatas, his Symphonies from different life periods, till the early String Quartets- Gluck and Haydn have not been mistaken.

The Second Concerto is more unitary in manner. There are still occasional moments of hard tone from Ashkenazy, but they are less noticeable here. It’s a nice performance if you like a pretty broad first movement, an energetic but controlled Scherzo, a mellow Andante and a Finale which aims more at grace and good humour than anything climatic. The recording is lively with a touch of glare at times.

Maurizio Pollini records Schubert's three great last sonatas, all written in the year of his untimely death, with a delicate and lyrical touch.

Buxtehude’s anthology and some of the most beautiful pages of North German repertory.