Though the origin of Bach’s sonatas for flute and harpsichord is uncertain there has also been considerable debate about their genre. The first three are often called ‘Sonaten auf Concertenart’—sonatas in concerto style—a hybrid genre that became popular between around 1720 and 1740, so Bach may have been deliberately experimenting with form in these works. All offer a fascinating insight into Bach’s use of the sonata genre and a wealth of inventive music.

There are almost more Petula Clark collections than there were actual songs (that's saying something), and Sanctuary's three-disc Songs of My Life: The Essential Petula Clark is one of the better ones. Split into three themes, "Swinging Times," "Mellow Moods," and "Beautiful Sounds," Songs of My Life relies heavily on the English pop sensation's peak '60s and '70s output. All of the key radio hits are here ("Downtown," "I Know a Place," "My Love," "This Is My Song"), as well as countless ballads, uptempo pop gems, and choice covers. Fans looking for a decent career overview (sadly, none of Clark's vast arsenal of French hits are here) may find the 78 tracks that populate Songs of My Life a bit overwhelming, but they're well worth spending some quality time alone with.

Robert Cray adds a bit more soul to the mix on this album, which features the Memphis Horns most prominently. Most of the songs are Cray doing what Cray does best–slow, soulful, done-me-wrong (or, alternatively, I-done-wrong) songs chock full of great guitar. No complaints there, and when he adds a bit of vocal growl here and there, as on the album opener "The Forecast (Calls for Pain)" (also featuring some excellent bass from Richard Cousins), and the slow shuffle "Holdin' Court," it keeps things interesting. This album indicates a slight shift in Cray's direction; although he's always included a touch of soul in his blues, here it's more pronounced than before, a tendency he continued in subsequent recordings.

Big Sleep were a Welsh band whose influence was far beyond their sole album offering released in 1971. The band members (formerly with Eyes Of Blue) would all soon head for greater things in bands such as Gentle Giant, Man and Wild Turkey (formed by ex-Jethro Tull bassist Glenn Cornick). An album that features many fine songs and styles, "Bluebell Wood", (originally released on the highly collectable Pagusus label), has been sought after by collectors for many years thanks to its influence and place in the history of British progressive rock and in the annals of Welsh rock. Remastered from the original master tapes, “Bluebell Wood” has never sounded so good. This release is sure to appeal to followers of Man and Gentle Giant in particular. The First ever- official CD release for this classic album.

While the comparisons to Charlie Parker were inevitable throughout a good part of his career, Sonny Stitt was very much his own man. He is in top form throughout this 1957 session made for Verve, featuring a very young Bobby Timmons on piano, bassist Edgar Willis, and drummer Kenny Dennis. Alternating between alto and tenor saxophone in a program consisting mostly of standards, Stitt is equally at home on each horn. His soulful tenor shines in "Easy Living," while the loping "Autumn in New York" showcases his exuberant alto. Timmons, who had just made his recording debut as a sideman with Kenny Burrell the previous year, hints at his potential with a blues-drenched solo in "You'd Be So Nice to Come Home To." One of Stitt's best recordings at this point in his career.

One of the great overlooked albums of the 1970s, Time Actor was the result of a collaboration between legendary Crazy World & Kingdom Come visionary Arthur Brown and German Synthesiser and Ambient genius Klaus Schulze, recording under the pseudonym of his alter-ego Richard Wahnfried. The resulting record was a unique fusion of Brown’s amazing vocals and eccentric musical visions and Schulze’s innovative keyboard playing. Originally released on the German Innovative Communication label, Time Actor also features special guest Vincent Crane (who recorded a collaborative album with Arthur Brown for the label during this period). This newly re-mastered reissue restores the original album artwork and includes a new essay.

Volume Two (three CDs) in this series reissuing all the material found on the long out of print Ultimate Edition box sets (for more background on the series as a whole, see La Vie Electronique 1) is much more interesting than volume one, and the pick of the first six volumes. The music comes from 1972-1975 (but mostly 1972-1973), a rich period of experimentation, as Schulze was gradually forging what would be known as his "classic" sound, nearly palpable by "Blaue Stunde," the 38-minute piece from 1975 concluding the set. This second installment contains more finished works than the drafts-and-jams-packed volume one. "Das große Identifikationsspiel" (42 minutes) is a very good suite of rather experimental music written for a science fiction radio drama by Alfred Behrens. The 27-minute "Titanensee" was done with a ballet in mind, never to be produced; again, it is a strong work in Schulze's experimental vein. However, the undisputed highlight of volume two is a whole album's worth of collaborations with Hans-Jörg Stahlschmidt, a project that had been brought to completion, only to gather dust on a record company's shelves.

Behemoth's ascent is a story that can be told in many ways and from many perspectives. When one writes about a band that has written and rewritten the book on extreme metal for over 30 years that much is inevitable. However, it would be difficult to really capture the story's essence without focusing on the ambition and power which drive the band. While both power and ambition, as terms, can be tied in some way and some meaning to every story - their interpretation here is exact and carefully chosen. Ambition is the charioteer, navigating ever forwards to new horizons and visions and power are the horses, without whose prowess those horizons would be but a distant dream.
The new opus, The Shit Ov God, is emblematic of that. Here's a band that, 34 years in, is releasing it's most inflammatory and extreme record to date…

Verve's Great Songs/Great Performances series is yet another attempt in a seemingly never-ending stream of them to repackage – and hopefully resell – their vast catalog of jazz and blues. They're super cheap in both cost and presentation, but the music is almost always stellar. Jimmy Smith's Plays the Hits volume is no exception. These eight selection are covers of tunes by the Rolling Stones ("(I Can't Get No) Satisfaction"), Fats Domino ("Blueberry Hill"), Don Covay ("Chain of Fools") James Brown ("Papa's Got a Brand New Bag"), Otis Redding ("Respect"), Al Green ("Let's Stay Together"), and others. It's a groove lover's cheap dream. Dana Smart's track selection here is terrific, and whether the producer is Creed Taylor, Esmond Edwards, or Eric Miller, whether it was a small-band jam or an orchestral session arranged and conducted by Oliver Nelson, the result is the same – funky soul-jazz that was a couple steps away from the Blue Note hard bop and early soul-jazz sound, toward something Smith heard in rock and soul music and big-band charts of '60s pop tunes.

Esoteric Recordings are pleased to announce the release of a Deluxe edition of the self titled album by Quatermass. Originally released in 1970 on the Harvest label, "Quatermass" is one of the most remarkable albums of the era. Featuring Peter Robinson (Keyboards), John Gustafson (Bass, Vocals) and Mick Underwood (Drums, Percussion), Quatermass were one of the most imaginative groups of the Progressive era. Their unique brand of powerful progressive rock encompassed classical music and hard rock, a unique combination that influenced contemporaries such as Deep Purple (indeed Ritchie Blackmore covered "Black Sheep of the Family" on the first Rainbow album). This Esoteric Recordings edition features stunning new mixes by Peter Robinson, along with three bonus tracks, two of which are previously unreleased. The set also features a lavishly illustrated booklet with new essay written by Peter Robinson.

People, Hell and Angels is a collection of quality studio tracks recorded (mostly) in 1968-1969 as the Experience was coming to an end and Jimi was renewing his friendships with Billy Cox and Buddy Miles, who appear here as sidemen on most of these tracks. The surprising thing about this set is not the sound quality (which is exceptional) or that these all sound like finished tracks, but the fact that even avid Hendrix bootleg collectors are unlikely to have heard most of this material.
A great version of "Earth Blues" kicks things off with just Jimi, Billy, and Buddy (whose drums were replaced by Mitch Mitchell on the Rainbow Bridge/First Rays version). It's a more forceful take than the other version and also has some different lyrics…

Here you'll find great studio recordings - "Chicago Daily Blues" and "Came up the hard Way". Special bonus tracks on this CD were recorded in the Kingston Mines nightclub in Chicago on a trip in 1977.
Once dismissed by purists as a Chuck Berry imitator (and an accurate one at that), tall, lean, and lanky Chicago southpaw Eddy Clearwater became recognized as a prime progenitor of West Side-style blues guitar. That's not to say he wouldn't liven up a gig with a little duck-walking or a frat party rendition of "Shout"; after all, Clearwater brought a wide array of influences to the party. Gospel, country, '50s rock, and deep-down blues were all incorporated into his slashing guitar attack. But when he put his mind to it, "The Chief" (a nickname accrued from his penchant for donning Native American headdresses on-stage) was one of the Windy City's finest bluesmen.