Tom Waits’ Glitter and Doom Live doesn't fall into the various traps that many other concert recordings do, though it does have its problems. This double-disc set marks his third live effort in his nearly 40-year career, each one summing up his career to the point of its release. The first, Nighthawks at the Diner, issued in 1975 on Asylum, is regarded by many as one of the greatest live albums of all time. Big Time, released during his tenure at Island in 1986, is hotly debated in fan circles. It is likely that Glitter and Doom Live will be too, but for different reasons. The musical performances here were culled from Waits’ historic sold-out tour of the U.S. and Europe. He compiled and sequenced the tracks himself, intending to make them sound like a single show…

Originally released in 1969. Regarded as one of the greatest blues albums of all time. All Analog Process (AAA) From The Original Master Tapes. Cut by Kevin Gray. Midnight Color Vinyl. Recorded in 1969, this album, as McDowell’s titular quote suggests, is not just a collection of songs but a significant piece of musical history. It’s a masterclass, a confessional, a musical statement, and a history lesson all in one. Despite its seemingly simple nature, it’s a profound work. Regarded as one of the greatest blues albums of all time, I Do Not Play No Rock 'N' Roll is a must-listen, a testament to one of the greatest musical forces that has directly influenced The Rolling Stones, Aerosmith, The Black Keys & Bonnie Raitt (to whom McDowell taught slide guitar). In 1959, McDowell’s talent was first captured by folklore musicologist Alan Lomax, and from there, he quickly rose to stardom with his live recordings and festival appearances across the US and UK. This album is a testament to McDowell’s unique voice and guitar style, dominating the air and filling it with raw power and authenticity.

Four CD set. An anthology of George Martin's sound productions before the advent of the Beatles; before the collaboration that would change popular music forever. He re-defined the role of producer; pioneering the recording itself as an art form. This edition is testament to a elegant, fearless musical innovator. The surrealistic, sometimes free-form recordings he created with comic geniuses Sellers, Milligan, Cribbins and Ustinov involved sound effects and collage. These madcap sonic adventures, allied to his understanding of the workings of an orchestra, his contacts within the classical fraternity, his love of the romantic and impressionist composers, and his fascination with studio experimentation made George Martin uniquely able to provide a particular objectivity and realise what the ever-curious Beatles, or any artist, would ask of him. As head of Parlophone, determined to explode the label onto the scene, he sought artists of character; taking mobile recording units out to capture Flanders And Swann's two-man show and the irreverent satirical revue, Beyond The Fringe. The Top Five was breached in 1960 both by Matt Monro and by Peter Sellers And Sophia Loren. George Martin's first UK Number One single, and an exemplar, was 'You're Driving Me Crazy' by The Temperance Seven who combined a revival of popular music from the 20s with styles from the Edwardian era.

The Exotic Beatles - Part One: 26 of your all time Beatles favourites performed by the most exotic cast ever assembled including…Eleanor Rigby in Latin by Derek Enright MP - Lucy In The Sky by William Shatner - I Am The Walrus by John Otway - She Loves You Flamenco - Japanese Yellow Submarine Ondo - Brian Sewell - The Metropolitan Police Choir - Cats and Dogs - The Indian Beatles - The Japanese Beatles - The Argentinian Beatles - The Malayan Beatles… "This is the sound of the world going mad" - Record Collector "Freshness, innocence, exoticism; the three cardinal virtues of pop" - Beatles Unlimited "A Must for Beatles obsessives and lovers of kitsch" - Rock CD.

In early 1961, a 19 year old Bob Dylan, having dropped out of college at the end of his freshman year, travelled to New York City, ostensibly to visit his idol Woody Guthrie, hospitalised with Huntingdon's Disease. He headed straight for Greenwich Village, by then the epicentre of the folk music revival that Dylan was hoping to become a part of. In his recent autobiography Chronicles he writes; 'Greenwich was full of full of folk clubs and bars and those of us who played them all played the old timey folk songs, rural blues and dance tunes'.

rguably the first consistently strong album Fleetwood Mac ever recorded – all the way back into the Peter Green/Jeremy Spencer era, the Mac's albums had previously consisted of individual moments of brilliance in a sea of uninspired filler – 1972's Bare Trees is also the album where the band finally defines its post-blues musical personality. Low-key but less narcoleptically mellow than 1971's sleepy Future Games, Bare Trees is a singer/songwriter album in the traditional early-'70s style, backed up with just enough musical muscle to keep from sounding like weedy soft rock in the manner of Bread or Cat Stevens. This is the one Fleetwood Mac album on which singer/guitarist Danny Kirwan is the dominant figure, writing five songs to Christine McVie and Bob Welch's two apiece.

this 5 CD box marks the complete re-release of the complete recordings. Apart from the 5 CDs with in all ca 6 hours of material, the CD box contains a 60 page booklet with essays by Teddy Hultberg and Sten Hanson, as well as historical photographs taken by Lütfi Özkök during the festivals. The term text-sound composition was coined in 1967 in Sweden by the composers/writers Lars-Gunnar Bodin and Bengt Emil Johnsson, and was meant to serve to name a genre that was a vital art form in the no man's land between sound, poetry, and music. Text-sound compositions had influences from previous modernistic waves such as futurism, dadaism, lettrism, etc., but perhaps the most important influence was the Swedish poet and visual artist Öyvind Fahlström, who had just over a decade earlier coined the term "concrete poetry". The term concrete poetry related to Pierre Schaeffer's concrete music, and it is somewhere between concrete poetry and concrete music that text-sound compositions appear. The birth of the electronic music studio and concrete music's idea that every sound can be freed from its original context and given a new meaning when it is reworked and put together with other sounds in the electronic music studio became the catharsis for text-sound composition. The CD box contains works by the following text-sound composers and sound poets: Charles Amirkhanian, Lars-Gunnar Bodin, Svante Bodin, Henri Chopin, Bob Cobbing, François Dufrêne, Gust Gils, Jarl och Sonja Hammarberg-Åkesson, Sten Hanson, Bernard Heidsieck, C. Christer Hennix, Åke Hodell, Bengt Emil Johnsson, Sandro Key-Åberg, Bengt af Klintberg, Ilmar Laaban, Annea Lockwood & Harvey Matusow, Arrigo Lora-Totino, Ghérasim Luca, Arne Mellnäs, Franz Mon, Ladislav Novák, Diter Rot & Emmet Williams, Erik Thygesen, Paul de Vree.

In the mid-1960s, the rigid and colourless British way of life was irrevocably transformed by the emergence of the underground movement, a loose collective of young radicals who introduced new social, sexual and aesthetic perspectives. Operating out of the heart of London, their various activities, from the newspaper the International Times, to the psychedelic club UFO, promoted alternative lifestyles and values and sparked a cultural revolution. The Underground drew its inspiration from America's Beat Poets; among them Allen Ginsberg, Jack Kerouac, Lawrence Ferlinghetti; who espoused an impossibly attractive Bohemian culture - a hedonistic lifestyle of art and free love and all that went with it. The counterculture was also invigorated by the fearlessness of such pioneers of free jazz as Ornette Coleman, Albert Ayler, John Coltrane and Cecil Taylor; drawn, in its search for a ‘spiritual elixir’, to India and her classical music, embodied initially by Ravi Shankar. Then thrilled at the audacity of an international avant-garde - including such giants as György Ligeti, John Cage, Karlheinz Stockhausen and Luciano Berio - which pushed courageously at the limits of sound itself and who, in turn, would propose to all mediums of popular art in Britain a new palette of musical colours and techniques to work with.

The "storyteller" concept was ideal for aging singer/songwriters, letting them run through their back catalog and illuminate the origins of their best-known songs with stories and anecdotes. Ray Davies essentially invented the concept on his promotional tour for his semi-fictional memoir X-Ray, and his concerts were so successful, they eventually provided the basis for the VH1 series Storyteller. It also led to Storyteller, his first solo album since the soundtrack to Return to Waterloo. Like that album, it has a sound very similar to the Kinks – which shouldn't be surprising, since Davies was the musical force behind the band – but it's considerably more engaging than Return to Waterloo.

To mark the tenth anniversary of the release of I’m New Here , the thirteenth - and last - studio album from the legendary US musician, poet and author Gil Scott-Heron, XL Recordings will release a unique reinterpretation of the album by acclaimed US jazz musician Makaya McCraven. The Chicago drummer and producer transforms Gil-Scott Heron's final album into a masterpiece of dirty blues, spiritual jazz, and deep yearning. (Pitchfork)

Original double album remixed in stereo, plus 'The Spirit Of Man 2009' featuring Jennifer Ellison & Shannon Noll and new, never before seen video medley 'The Eve Of The War' & 'Forever Autumn' featuring Justin Hayward. The bonus tracks in the 'Enhanced CD' content are playable as audio tracks (2-9 & 2-10) on a CD player or watched as videos in most computers.

Gilbert "Gil" Scott-Heron was an American soul and jazz poet, musician, and author, known primarily for his work as a spoken word performer in the 1970s and '80s. His collaborative efforts with musician Brian Jackson featured a musical fusion of jazz, blues, and soul, as well as lyrical content concerning social and political issues of the time, delivered in both rapping and melismatic vocal styles by Scott-Heron. His own term for himself was "bluesologist", which he defined as "a scientist who is concerned with the origin of the blues." His music, most notably on Pieces of a Man and Winter in America in the early 1970s, influenced and helped engender later African-American music genres such as hip hop and neo soul.

Equal Spirits brings together a genre-defying mix of South African spiritual jazz, ambient improvised introspection, bursts of old-school hip-hop and electronica, soaring melodies, synths, samples and gospel-infused grooves, woven together with sung and spoken languages from Zulu, Sotho, Yoruba and Xhosa to Arabic and English.

Ringo Starr anchored the Beatles with a smile and a thundering backbeat, qualities he'd never lose during the group's heyday or throughout his long solo career. Starr often took the spotlight in the Beatles – he stole scenes in their feature film debut, A Hard Day's Night, he sang "Yellow Submarine," the 1966 number one single that launched a 1968 psychedelic animated film of the same name – but he didn't start writing original material until the band's final years, penning "Don't Pass Me By" for The Beatles and "Octopus's Garden" for Abbey Road. While Ringo would pen a number of hits in the first years of his solo career – "It Don't Come Easy" and "Back Off Boogaloo," his first two U.K. Top Tens, were written by him alone – he'd soon rely on a blend of covers, originals, and songs given to him by his wide circle of friends, colleagues, and admirers.

"Gathering: Native Alaskan Music And Words" is an album that showcases the rich cultural heritage of Native Alaskan communities through a blend of traditional music and spoken word. This album typically features a variety of native instruments, vocal styles, and storytelling that reflect the diverse traditions and practices of Alaska's indigenous peoples.