In June and September of 1952, Joe Sullivan recorded eight versions of songs composed but never recorded by Thomas "Fats" Waller. Issued on a 10" LP entitled Fats Waller First Editions, this music soon drifted into obscurity. It resurfaced years later on Mosaic's The Columbia Jazz Piano Moods Sessions, a limited-edition box set of seven CDs. In January of 2004, the Classics Chronological series quietly released all eight of these magnificent trio renderings as part of the continuing saga of Joe Sullivan. Hardly anybody seems to have noticed this important historical development. Yet Fats Waller devotees everywhere should be notified, as they now have ready access to Waller melodies with titles like "What's Your Name," "Solid Eclipse," "Never Heard of Such Stuff," and "If You Can't Be Good, Be Careful." Classics 1353 also includes a powerful quartet session from December of 1945 with George Wettling…

After two gold records and two nominations for the Victoires de la musique, Feu! Chatterton is back with his new album: Clay Palace, a grandiose cyberpunk mural for confined times. It's a space opera, a choral film; a gallery of mysterious characters who appear and disappear in the limbo of the narrative. Here a failed musician (Companions), there an androgynous cyborg (Before there was the world), elsewhere an enigmatic beast (Panther). We appeal to the elements, to Water (The Sea), to Fire (The Coming Man), to God himself (Canticle). The album was entirely produced by Arnaud Rebotini, a big name in the French electronic scene and producer with the Cesar Award for the soundtrack of the film 120 beats per minute.

Josef Lhevinne studied at the Moscow Conservatory under Vasily Safonov, made his public debut at fourteen in a performance conducted by Anton Rubinstein, and graduated top of a class that included both Sergei Rachmaninoff and Alexander Scriabin. Lhevinne is often included as one of the greatest golden-era pianists, and yet, his recorded legacy is approximately fifty minutes of repertoire for Pathé and Victor, albeit treasured and admired. And not unlike a star whose light went out too soon, the public created a mythos based on a small output and clamors for more examples of his playing to further justify his reputation. The wait is now over.

Following on from their legendary and award winning (MOJO magazine compilation of the year) "A Monstrous Psychedelic Bubble (Exploding In Your Mind)" DJ series, The Amorphous Androgynous have started a parallel series called Monstrou Bubble Soundtracks which aims to explore groovy sub genres of the MPB concept, but rather than DJ/compile, they write and produce all the material themselves in a classic soundtrack vein. The first one is The Cartel which is a study of psychsploitation (where psychedelia meets blaxploitation) and traces the lineage from Lalo Schifrin, Quincy Jones, Curtis Mayfield, John Barry, Ennio Morricone through to Oceans 12.
Aided and abetted by a stellar cast including Noel Gallagher himself on bass and guitar plus Raven Bush (of fast upcoming Canterbury folk psych band Syd Arthur) on violin plus the Amorphous Androgynous themselves…

Red Sea is the second album by English hard rock band Warhorse. The CD reissue has six previously unreleased bonus tracks, including a live version of "Ritual" (a song from the first Warhorse album) and five demos of Nick Simper compositions that do not appear on the two Warhorse LPs. Warhorse were a band formed by former Deep Purple bassist Nick Simper. He had left Deep Purple in 1969 and joined Marsha Hunt's backup band. Not long after, Nick Simper replaced her backing band with Ged Peck on guitar and Mac Poole on drums. While this was going on, Simper would play in an extracurricular band along with Ged and Mac, with singer Ashley Holt. When Hunt became pregnant, the band stopped touring and Simper re-organised the group as Warhorse.

Open All Night had the unwieldy pressure of being the follow-up album to a surprise hit. The Georgia Satellites' self-titled offering, issued in 1986, yielded the smash single "Keep Your Hands to Yourself," which was also an MTV staple for six months. The track and its accompanying video were viewed as novelties by radio and MTV, so when Open All Night appeared, the "joke" was over. Too bad. If ever a band was miscast as class clown, it was these guys. Songwriter and frontman Dan Baird wrote another slew of tough rootsy rockers that evoked everyone from Chuck Berry to AC/DC. Boogie, biker bluesy rock, Faces-style garagey rawness, and the swagger of the Rolling Stones along with the overdriven razored guitar of Rick Richards powered Baird's songs.

First performed at Versailles in 1745, the opera ballet Zélindor is a delightful rococo pastorale which found favour with Louis XV’s mistress, Madame de Pompadour, no doubt because its story about a king who loves a commoner reflected her own situation. Opera Lafayette’s 2007 revival was hailed as “brilliant” by The Washington Post, which praised the soloists, headed by Jean-Paul Fouchécourt, and chamber chorus who “sang with a gusto matched by the orchestra’s rhythmic pungency”. This is the work’s world première recording with full orchestra and chorus.

This live double album features Coco Montoya and his band on the Road, as part of a RUF records series of on The Road albums delivered from their catalogue of blues artists. The opening track I Got A Mind To Travel, is an apt starting point and introduces us to the full band of musicians Coco Montoya uses to augment his vocal and guitar skills the use of Hammond Organ delivered with panache by Brant Leeper who also adds to the vocals. Throughout the album there are glimpses of Coco Montoya’s exceptional musical career especially the influence he certainly gives the feel of movement and the guitar sound is an homage to his old boss Albert Collins while playing the guitar left-handed and upside down like the other Albert King! Coco’s playing is instinctive full of fluidity. The whole album is easy on your ear and an enjoyable listening experience BUT at times you want Coco to let loose and really show us what he is capable of. On Love Jail his guitar takes on the shape and form of Albert Collins and all the better for it, even his vocals strengthen as the beat picks up, this is a stylish ten minute track. This album has fourteen tracks where Coco and his band just want to please as they play for the length of time need ( Never less than 5 minutes and up to a mighty 15 minutes) to explore all the alleyways and nooks and crannies they feel the music is taking them on their journey of discovery with you, there is freedom of expression that only live music free from the constrains of a studio walls and mixing desk.