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Contemporary Jazz - Released February 2, 2013 | Laborie Jazz

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Classical - Released January 22, 2016 | Ediciones Singulares

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Full Operas - Released May 29, 2015 | La discothèque idéale de Diapason

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Classical - Released August 16, 2004 | Supraphon a.s.

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Classical - Released September 2, 2002 | Supraphon a.s.

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Chamber Music - Released January 1, 1996 | Universal International Music B.V.

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Humour/Spoken Word - Released June 10, 2015 | Ina Archives

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World - Released November 5, 2013 | Accords Croisés

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Classical - Released July 15, 2013 | naïve classique

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Electro - Released October 1, 2012 | Pschent

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Musical Theatre - Released January 1, 2009 | Universal Music Division Classics Jazz

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Children - Released June 22, 2007 | Disney Records (Europe)

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Free Jazz & Avant-Garde - Released December 4, 2013 | Born Bad Records

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Rap - Released November 13, 2013 | Stones Throw Records

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World - Released November 4, 2013 | Buda musique

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Africa - Released April 1, 2013 | Orane

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Jazz - Released February 4, 2013 | Nova Records

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Film Soundtracks - Released May 16, 2011 | Editions Milan Music

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Film Soundtracks - Released March 24, 2009 | Capitol Records

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Blues - Released June 1, 2004 | ACT Music

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It is ironic that two promoters from Germany, Horst Lippmann and Fritz Rau, may well have played the largest part in revitalizing an American audience for the blues in the United States during the 1960s. Their annual barnstorming tours of Western Europe with a roster of American blues greats sparked a blues revival, particularly in London, where Mick Jagger, Keith Richards, Jimmy Page, Eric Clapton, and a host of other young white musicians fell under the spell of the blues. When British bands such as the Rolling Stones, the Animals, and the Yardbirds exported the music back to the States, blues reestablished itself as a commercially viable form in its homeland, leading to long careers for many of the artists featured here. The tours, billed as the American Folk Blues Festival, ran every fall in Europe, beginning in 1962 and lasting until 1970, and several live performances from those shows (most of them from the 1963, 1964, and 1965 tours) are collected in this two-disc set. Whether they're truly "lost tapes" or not is debatable, but several of these performances are priceless historical documents, and the sound is great, even intimate. Highlights include Memphis Slim's winking, elegant version of the traditional "John Henry" ballad; Otis Spann's "Going Down Slow"; a solo acoustic rendition of "Catfish Blues" by Muddy Waters; Big Mama Thornton's blistering "Hound Dog"; J.B. Lenoir's "If I Get Lucky"; Mississippi Fred McDowell's "Got a Letter This Morning" (a variant of Son House's "Death Letter"); and the loose, front-porch jug band feel of Sleepy John Estes' "Your Best Friend's Gone." There are no liner notes to speak of, which is a shame, but the music here is simply wonderful. ~ Steve Leggett

Jazz - Released January 1, 2002 | ENJA RECORDS Matthias Winckelmann

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Classical - Released January 20, 2014 | harmonia mundi

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Classical - Released January 20, 2014 | harmonia mundi

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Africa - Released December 9, 2013 | Orane

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Video Games - Released December 2, 2013 | Ubisoft Music

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Electro - Released May 23, 2013 | Pschent

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Jazz - Released March 22, 2013 | ACT Music

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Full Operas - Released January 1, 2012 | Decca

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Children - Released December 14, 2009 | Caravage

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Stories and Nursery Rhymes - Released February 28, 2006 | Disney Records (Europe)

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Film Soundtracks - Released January 1, 1972 | Hip-O

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This edition of the Cabaret soundtrack, from Universal Ireland, contains 12 tracks featuring Joel Grey, Liza Minnelli, and pianist/arranger Ralph Burns. The set includes the film versions of "Maybe This Time," "If You Could See Her," "Money Money," and "Cabaret." Keep in mind that the film soundtrack contains fewer songs than the original Broadway score. ~ Al Campbell
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Video Games - Released October 29, 2013 | Ubisoft Music

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House - Released July 29, 2013 | InFiné

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Electro - Released June 25, 2013 | Ninja Tune

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Africa - Released June 4, 2013 | Orane

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Jazz - Released June 1, 2013 | Frémeaux & associés

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Jazz - Released December 7, 2012 | ACT Music

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Classical - Released May 1, 2012 | Genuin

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Jazz - Released February 24, 2012 | ACT Music

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Classical - Released August 1, 2011 | Profil

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Pop - Released July 25, 2011 | Legacy Recordings

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Featuring Phil Spector's "Wall of Sound" in its prime and his early stable of artists, the Ronettes, Crystals, Darlene Love, and Bob B. Soxx & the Blue Jeans, A Christmas Gift for You From Phil Spector stands as inarguably the greatest Christmas record of all time. Spector believed he could produce a record for the holidays that would capture not only the essence of the Christmas spirit, but also be a pop masterpiece that would stand against any work these artists had already done. He succeeded on every level, with all four groups/singers recording some of their most memorable performances. This is the Christmas album by which all later holiday releases had to be judged, and it has inspired a host of imitators. ~ Dennis MacDonald

Bebop - Released May 30, 2011 | Saga

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Classical - Released May 1, 2011 | K&K Verlagsanstalt

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Classical - Released May 1, 2011 | K&K Verlagsanstalt

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Jazz - Released January 1, 2011 | Universal Music Division Classics Jazz

Distinctions Sélection Les Inrocks
At a time when the traditional "gatekeepers" of the record business seem to be giving way to a D.I.Y. free-for-all in the digital Internet era, the Universal Music Group (ironically through its Verve imprint) here boxes the first six LPs released by Impulse Records, then a newly formed jazz label, in 1961, all produced by initial label head Creed Taylor, who departed the company (for Verve, then part of rival MGM) just as the last of the six was coming out. Taylor, as annotator Ashley Kahn and Taylor himself make clear in the liner notes, was the auteur of these half-dozen albums, even if he didn't actually play on them. Unlike Blue Note or Prestige, Impulse was never a true independent; it was formed as a jazz subsidiary of ABC-Paramount to be Taylor's custom label, after he had demonstrated an ability to make commercially successful jazz records. And he did that with the first Impulse albums, particularly Ray Charles' Genius + Soul = Jazz, with its hit single "One Mint Julip." (The box set includes the first CD release of the mono mix actually heard on the 45 rpm single.) He also introduced some excellent straight-ahead jazz with the trombone collections The Great Kai & J.J. and Brand New, Swinging Together Again by Kai Winding and J.J. Johnson, and The Incredible Kai Winding Trombones. Progressive big-band jazz was heard on the Gil Evans Orchestra's Out of the Cool and Oliver Nelson's Blues and the Abstract Truth. And Taylor's last album for Impulse was John Coltrane's first: Africa/Brass. (The only previously unreleased tracks on the box set are three brief rehearsal tidbits from before the Africa/Brass sessions.) All credit for the music itself redounds to the musicians, of course. But this collection poses the question whether the music would ever have been made if it hadn't been for visionary record executive/producers such as Creed Taylor (and Bob Thiele, who succeeded him at Impulse, not to mention Blue Note's Alfred Lion and Prestige's Bob Weinstock, among others). Certainly, it wouldn't have been made in the same way, and these albums demonstrate what a loss that might have been. ~ William Ruhlmann
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Electro - Released December 20, 2010 | Filter Label

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Classical - Released October 26, 2010 | Carpe Diem

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Dance - Released October 4, 2010 | Bullet Train Records

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Jazz - Released September 1, 2010 | ITM

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Vocal Music (Secular and Sacred) - Released August 1, 2010 | Carus

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Jazz - Released October 23, 2009 | ENJA RECORDS Matthias Winckelmann

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Pop/Rock - Released May 19, 2009 | Capitol Records

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Tango - Released May 7, 2009 | ENJA RECORDS Werner Aldinger

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Jazz - Released July 3, 2007 | ENJA RECORDS Matthias Winckelmann

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Jazz - Released July 3, 2007 | ENJA RECORDS Matthias Winckelmann

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Jazz - Released March 30, 2007 | ACT Music

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Jazz - Released March 29, 2004 | ACT Music

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Jazz - Released January 1, 1996 | ENJA RECORDS Matthias Winckelmann

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Soul/Funk/R&B - Released January 1, 1988 | Impact Music

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Film Soundtracks - Released February 14, 2000 | Epic - Razor Sharp - Sony Music Soundtrax

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Musical Theatre - Released June 8, 2004 | Masterworks Broadway

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Classical composer/conductor Leonard Bernstein periodically had tried his hand at writing Broadway musicals, starting with On the Town (1944) and continuing with Wonderful Town, (1953), not to mention, less than a year earlier, Candide, a musically magnificent, dramatically unsuccessful effort. But none of these was as ambitious as West Side Story, a score that is infused with Bernstein's classical sensibility, even as it deliberately draws in influences from jazz and Latin music. A contemporary retelling of Romeo & Juliet set among New York street gangs, the show combines refined and vulgar elements, and Bernstein's music revels in the contrasts, veering from the hymn-like themes he provides for the lovers' ballads (they may be Italians on one side and Puerto Ricans on the other, but they're probably all Catholics, so the religious influence is something they have in common) to the jarring rhythms that accompany the continual "rumbles" of the gangs. Newcomer lyricist Stephen Sondheim traces the same contrast in his words. For the Romeo character, here called Tony, the mere name of his Juliet, here called Maria, has religious significance: "Say it loud and there's music playing," he sings in a song called "Maria," "Say it soft and it's almost like praying." In this song, as in their duets "Tonight" and "One Hand, One Heart," Tony and Maria are not just idealistic, but idealized, and Larry Kert and Carol Lawrence embody them well. On the other hand, Sondheim fills the language of their friends with a rough slang that sometimes alludes to common obscenity (e.g., "when the spit hits the fan") and sometimes pushes the limits of language allowable on a Broadway stage in the '50s ("bastard," "S.O.B."). When they're not cursing, these characters engage in biting criticism and sarcasm. "America," a song of dueling Puerto Rican girls, one who wants to go home and one who wants to stay in Manhattan (the fiery Anita, ably played by Chita Rivera), and "Gee, Officer Krupke!," a gang's taunting of a police officer, are not just typical comic songs in a Broadway musical. They are savagely witty, marking the introduction of a lyricist on a par with Lorenz Hart or Cole Porter, at the very least. That said, however, this isn't really a lyric-oriented show, or even a character-oriented one, oddly enough. It is notable that the album cover says, "West Side Story (based on a conception of Jerome Robbins)," not "based on a play by William Shakespeare." Robbins, the show's director/choreographer, has conceived it as a dance show, and there are extended instrumental passages on this album during which the stage actors would be dancing, although one only hears them shouting occasionally and snapping their fingers. Powerful as Bernstein's music is, and clever as Sondheim's lyrics are, West Side Story is largely about dancing, which means that only a portion of it can be appreciated on disc. That is enough, however, to mark it as a landmark among Broadway cast albums as well as Broadway musicals. ~ William Ruhlmann
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Film Soundtracks - Released October 28, 2013 | Made In PM - StudioCanal - Because Music

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Stories and Nursery Rhymes - Released March 31, 2006 | Disney Records (Europe)

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Full Operas - Released May 4, 1993 | Berlin Classics

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Jazz - Released September 1, 2017 | Fremeaux Heritage

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Chamber Music - Released August 24, 2017 | Les Indispensables de Diapason

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Keyboard Concertos - Released June 26, 2017 | Les Indispensables de Diapason

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Africa - Released May 26, 2017 | Wrasse Records

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Electro - Released March 17, 2017 | PAN

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Africa - Released March 10, 2017 | Mr Bongo

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Asia - Released January 20, 2017 | Buda musique

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Electro - Released January 6, 2017 | InFiné

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New Age - Released November 4, 2016 | Light In The Attic Records

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(The Microcosm) is a companion of sorts to I Am the Center, Light in the Attic's monumental 2013 collection of private press new age recordings from America. This time out, the compilers focus on works by European composers, subtitling the compilation Visionary Music of Continental Europe, 1970-1986, carefully avoiding the "new age" tag as some of these artists have no interest in being associated with it. As such, there isn't really as much of a focus to this album -- it's simply a collection of good, spacy music of interest to fans of ambient, drone, and the kosmische side of Krautrock. A few big names pop up, particularly on the first disc, which is kicked off by an early Vangelis composition. Ash Ra Tempel are represented by the shimmering, pulsating "Le Sourire Volé," recorded for the soundtrack to a 1976 film starring Nico titled Le Berceau de Cristal. A slightly edited version of Popol Vuh's side-long "Brüder des Schattens - Söhne des Lichts" follows. It's one of the darker selections on the album (fitting, since it ended up being used in Werner Herzog's film Nosferatu the Vampyre), but it still radiates with hope and light. Ariel Kalma's "Orguitar Soir" features gentle guitar murmuring and organ drones beneath a blanket of hissing insects and chirping birds. There's also the joyous, relaxing title track to Hans-Joachim Roedelius' 1981 classic Wenn der Südwind Weht, and also a selection by new age pioneer Deuter, although surprisingly it's from one of his mid-'80s cassettes instead of his more groundbreaking albums from the early '70s. As far as rarities, there's an amazing piece by underrated French guitarist Bernard Xolotl, taken from a private cassette recorded in 1979. Also sourced from a rare cassette is "Shiva's Dance" by Suzanne Doucet and Christian Buehner, a lush, hypnotic piece filled with simmering drum machines and bird calls. One of the more surprising inclusions is "Der Grosse Atem" by Deutsche Wertarbeit, whose sole release was an excellent self-titled album that appeared in 1981 on Sky Records, and was later reissued by Medical Records and Bureau B. While much of the album consists of uptempo minimal wave with vocoders, "Der Grosse Atem" is easily the album's spaciest cut, even if it begins and ends with manic, frazzled synthesizer squiggles. While not as much of a revelation as the essential I Am the Center, (The Microcosm) is still highly enjoyable and a worthwhile purchase for anyone who appreciates otherworldly music. ~ Paul Simpson

Africa - Released October 28, 2016 | Numero Group

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Bobo Yéyé: Belle Époque in Upper Volta is a hefty, handsome box set; it's equal parts photo exhibit and musical anthology documenting the landlocked nation (now known as Burkina Faso) during the 1970s. It shines a light on Bobo-Dioulasso's music scene as an explosion of pop culture paved the way for 1983's coup d'etat led by Thomas Sankara (a former jazz musician) to rename the country. Revolution is a process, not an event, and this artifact offers one kind of proof. The 176-page hardbound book provides an introductory essay with a fine historical overview of colonial, post-colonial, and pre-revolutionary Upper Volta. A short note by photographer Sory Sanle offers his story, and is followed by dozens of his quietly stunning black-and-white photos that include studio portraits, promo shots of musicians, and night-time street scenes. There are biographies of the country's legendary groups Volta Jazz, Dafra Star (led by former -- and best -- VJ vocalist Coulibaly Tidiani), Echo del Africa, and Les Imbattables Leopards, and interviews. Full-color photos of various recordings adorn some pages, as do complete discographies of important labels. And, of course, there is the music. The set includes a disc each by Volta Jazz and Dafra Star. They offer rare tracks illustrating a startling crossroads where Malian and Nigerian melodies and rhythms collide with those of Ghana and Niger. Along the way, they encounter and build on Cuban rhythms, rock, and R&B sounds from the Americas. Check Volta Jazz's mind-melting "Mousso Koroba Tike." Fuzzed-up psychedelic wah-wah guitars and rock drums run headlong into highlife, accompanied by polyrhythmic hand drums and souled-out vocal harmonies. Contrast this with Dafra Star's fusion of call-and-response Malian folk and Latin-inspired funk in "Sie Koumgolo." Echo del Africa opens disc three with the cooking, Afrobeat-drenched funk of "Gentlemen Doromina." Later, they showcase a driving, Yoruban-cum-Juju pulse and chant in "Yiri Wah." Les Imbattables Leopards move through sweet, tender Afro-soul on "Milaoba" then get salsa-fied on "Nene." This disc also includes the popping dance number "He Ya Wanna" by Ouedraogo Youssef -- complete with Stax soul-styled horns -- and "Arindo" by Idy-O-Idrissa, a waltz-time R&B ballad whose melody derives from the Sahel folk tradition. Bobo Yéyé: Belle Époque in Upper Volta is one of Numero's most obsessively assembled artifacts, and given their high standards, that's saying plenty. While many labels release varied, excellent portraits of music from the African continent, Numero's project illustrates a particular place and time that laid the foundation for an entire people to build a nation. ~ Thom Jurek

Symphonic Music - Released October 14, 2016 | Lyrita

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Africa - Released September 16, 2016 | Sterns Africa

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Classical - Released August 12, 2016 | La discothèque idéale de Diapason

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Opera - Released June 1, 2016 | La discothèque idéale de Diapason

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Jazz - Released June 1, 2016 | Fremeaux Heritage

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Country - Released April 18, 2016 | Light In The Attic

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Reissued by HackTone after its original CD issue in 1995, Heartworn Highways is the sonic companion to the classic 1981 documentary of the same name. David Gorman goes out of his way to tell listeners/purchasers that this disc is not the soundtrack to the film because there never was one. HackTone "had to go back to the original film elements and Nagra tapes with the film's editor and producer to create one," according to Gorman. They "spent months working between them and an audio restoration engineer in New York to make a stand-alone album out of audio that works perfectly well while watching the film but would sound horribly disjointed otherwise. In fact, most of the performances in the film are edited down to about 1/4 their original length." This is key because it must have been a very painful process at time--especially during the 'round table' recordings on Christmas Eve at the end of the album. The microphone was literally in motion during the entire evening, trying to capture whoever was singing lead; but you'd never know it by listening to the CD. The breathtaking sound quality is a credit to restoration engineer Alan Silverman. A number of performances were left off in order to make this fit onto a single disc. What is here is a vintage treasure trove of the then-emerging singer/songwriter movement from the (mostly) American South. What is most important to note is that these performances were recorded for the documentary; they are not licensed recordings from a catalog. Some of the artists included here are no longer with us, but their performances (e.g., Townes Van Zandt's "Waitin' 'Round to Die" and "Pancho and Lefty," Gamble Rogers' "Charlie's Place" and "The Black Label Blues") are chilling and top-notch. Yet, they are in context because these infromal performances are stunning throughout. Some of the truly notable ones are by songwriters who are not well known even now among the general populus -- for example, the great Steve Young, who decided on deeply moving covers of Hank Williams' "I'm So Lonesome I Could Cry" along with his own "Alabama Highway". Youngis the guy who wrote "Seven Bridges Road," "Lonesome, On'ry and Mean" (the anthem of Waylon's outlaw movement that didn't include him--though, who was an outlaw long before it became a marketing concept)--and his "Montgomery in the Rain." is also here. Larry Jon Wilson makes an appearance with his deep backwoods "Ohoopee River Bottomland," which is equal parts Tony Joe White and Lightnin' Hopkins, all of it wrapped in Young's swampy Georgia voice and guitar playing. Guy Clark is heard on five cuts, three of them well known, but "Ballad of Laverne and Captain Flint" makes it too. Other writers here include David Allan Coe and John Hiatt, both of whom originally hailed from the Midwest. Hearing Coe in this setting is especially rewarding, almost separated from his bullshit image, just playing and singing his utterly moving songs, especially "I Still Sing the Old Songs," done with only an acoustic guitar. The glimpses listeners get of Rodney Crowell and Steve Earle apart from the slick Nashville production on their own records is especially refreshing. This is a timeless collection that truly stands on its own whether or not you saw the film in 1981 (it is available on DVD thank goodness). It's a no-jive set of songwriters doing what they do best away from the hype, the myth-making, and the self-destructive impulses that have plagued many of them. ~ Thom Jurek

Classical - Released February 1, 2016 | La discothèque idéale de Diapason

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Africa - Released November 27, 2015 | Analog Africa

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Jazz - Released November 6, 2015 | BDMUSIC

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Alternative & Indie - Released June 2, 2015 | Born Bad Records

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Concertos - Released June 2, 2015 | Dacapo SACD

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Latin America - Released May 18, 2015 | Soul Jazz Records

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Classical - Released May 15, 2015 | Decca Music Group Ltd.

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Rock - Released November 11, 2014 | Light In The Attic

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Classical - Released October 7, 2014 | Ricercar

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Classical - Released June 1, 2014 | Brilliant Classics

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World - Released May 26, 2014 | Soul Jazz Records

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Jazz - Released April 1, 2014 | Frémeaux & associés

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Classical - Released February 28, 2014 | Wergo

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French Music - Released January 14, 2014 | Epm

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Country - Released October 25, 2013 | Bear Family Records GmbH

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Alternative & Indie - Released April 15, 2013 | Arts & Crafts

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As Canadian indie pop was crossing over and becoming the big thing in the mid-2000s, Toronto's Arts & Crafts grew from a homegrown basement apartment to one of the most influential labels of that decade. Flash forward to 2013, and label heads Kevin Drew of Broken Social Scene and Jeffrey Remedios announced they would be holding the Field Trip Arts & Crafts Music Festival to commemorate the label's ten-year anniversary. To coincide with the event, a compilation titled Arts & Crafts: 2003-2013 was released. Contributions by flagship artists like Broken Social Scene, Stars, Feist, and Los Campesinos! are included, but instead of simply focusing on the big acts and their greatest hits, a lot of the songs included are rarities. It's a nice selection. The style of music ranges from heady precision punk to rustic acoustic folk, but because the artists on board share in the same optimistic indie spirit, the compilation plays cohesively from start to finish. Interesting, too, to see how the label set the stage for many mainstream acts to follow in the year 2013. [The deluxe version comes with a 24-page booklet, with liner notes written by Stuart Berman, author of the Broken Social Scene oral biography This Book Is Broken.] ~ Jason Lymangrover

Jazz - Released April 3, 2013 | Jazz City Series

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Blues - Released March 15, 2013 | Bear Family Records GmbH

Distinctions The Qobuz Ideal Discography
A companion to The Sun Country Box and The Sun Rock Box, Bear Family's 2013 The Sun Blues Box greatly expands the original 1983 LP box of the same title. That vinyl box concentrated solely on singles released on Sun and its related imprints during the '50s, but this hefty ten-CD box encompasses sides Sam Phillips produced at Sun Studios but licensed out to Chess, Trumpet, and RPM. These cuts, combined with other rarities -- mainly unreleased recordings but also outtakes and such rarities as a Sam Phillips radio spot for a medicine called "Tree of Life" and a clutch of recordings from unknown vocal groups and gospel singers tucked away on the tenth disc -- provides a testament to the considerable achievement Phillips achieved at Sun between 1950 and 1958. Many other studios, producers, and labels were instrumental in the development of recorded electric blues but Phillips at Sun was pivotal in 20th century blues' transition from the country to the city, Sun being an important stop on the road from the Mississippi Delta to Chicago. This is true geographically and aesthetically, as the blues recorded at Sun were often as primitive as those made deep in the Delta, but soon into Phillips' run of blues, the subjects of the songs quickly turned to urban concerns and the sound leaped from the backwoods to the steel and concrete of the city. The first disc, naturally, leans toward primitive Delta blues, but once Howlin' Wolf arrives at the start of the second disc, everything changes. Wolf was Phillips first great discovery and his great, gravelly groan on "Moanin' at Midnight" ushers in much more than the golden age of Sun Blues: licensed to Chess, the recording became a hit and put Chicago blues on a different path, one that would greatly change the sound of popular music, from the blues to rock & roll, and it also made Phillips eager to get another hitmaker into his studio. Shortly thereafter, he cut Jackie Brenston's "Rocket 88" with Ike Turner's band -- a jumping single often acknowledged as the first rock & roll single -- and then brought in B.B. King and Rufus Thomas, capturing the sound of not just Memphis blues but the whole swinging south. Much of this story was told on the original LP box, but the 2013 ten-disc set is drawn on an epic scale, thanks to the inclusion of all the sides Phillips licensed to other labels (although the unreleased rarities are of a high grade and are certainly welcome), singles that fill out the story with necessary detail. What's striking is how vital it all sounds, from the early Wolf and Ike through the Junior Parker, Earl Hooker, Joe Hill Louis, and Walter Horton who come later, to all the one-shots and cult favorites, ranging from the murderous Pat Hare to the inspirational Prisonaires. Phillips always sought musicians who tapped into some primal essence but he wasn't a purist, he was eager to make money out of his discoveries and the way to make money was to live in the modern world, not the past. And that's why the music on The Sun Blues Box feels like the beginning of modern music as we know it: it was recorded just as the blues moved out of the sticks and into the city, and it was recorded when any number of small-time record hustlers could maybe strike it big. Phillips didn't make his money here -- that is documented on the accompanying The Sun Rock Box -- but time and time again he captured lightning in his studio, and that's why The Sun Blues Box isn't simply a history album, it is music that is bracingly, thrillingly alive. ~ Stephen Thomas Erlewine

Classical - Released October 8, 2012 | Stradivarius

Distinctions Diapason d'or

Jazz - Released August 16, 2012 | Frémeaux & associés

Distinctions 4 étoiles Classica

Jazz - Released July 20, 2012 | ACT Music

Distinctions The Qobuz Standard
£11.99
£7.99

Classical - Released January 3, 2012 | Da Capo

Hi-Res Booklet Distinctions Hi-Res Audio

Pop/Rock - Released November 8, 2010 | Crammed Discs

Distinctions Sélection Les Inrocks
"Drawn from a suitably eclectic range....The primal rhythmic element of the original Congolese music is made good use of in almost every track."

Pop/Rock - Released November 8, 2010 | Crammed Discs

Distinctions Sélection Les Inrocks

Jazz - Released August 28, 2009 | ACT Music

Distinctions The Qobuz Standard

Jazz - Released August 28, 2009 | ACT Music

Distinctions The Qobuz Standard

Jazz - Released February 29, 2008 | ENJA RECORDS Matthias Winckelmann

Distinctions The Qobuz Standard

Jazz - Released July 3, 2007 | ENJA RECORDS Matthias Winckelmann

Distinctions The Qobuz Standard

Jazz - Released July 3, 2007 | ENJA RECORDS Matthias Winckelmann

Distinctions The Qobuz Standard

Classical - Released February 27, 2007 | Mode

Distinctions 5 de Diapason
£11.99
£7.99

Classical - Released January 1, 2006 | Dorian Sono Luminus

Hi-Res Distinctions Hi-Res Audio

Jazz - Released October 28, 2005 | ACT Music

Distinctions The Qobuz Standard

Classical - Released August 16, 2004 | Supraphon a.s.

Distinctions 5 de Diapason

Jazz - Released September 22, 2003 | ACT Music

Distinctions The Qobuz Standard

World - Released October 20, 2002 | Oriente

Distinctions 3F de Télérama

Jazz - Released October 14, 2002 | ACT Music

Distinctions The Qobuz Standard

Rap - Released January 1, 2002 | Rawkus Entertainment LLC

Distinctions The Qobuz Ideal Discography
Lyricist Lounge, Vol. 1 is an excellent showcase of underground and alternative rappers, including Kool Keith, De La Soul, 88 Keys, Natural Elements, Talib Kweli, Bahamadia, Q-Tip, and Jurassic 5, among many, many others. It's a great way to hear a number of the most talented and underappreciated rappers of the late '90s. ~ Leo Stanley

World - Released March 1, 2001 | Oriente

Distinctions 3F de Télérama

Jazz - Released January 1, 1999 | ENJA RECORDS Matthias Winckelmann

Distinctions The Qobuz Standard
The custom jazz label serves up ten dark, moody selections from its array of artists spanning from seductive female vocalists Melissa Walker and Jenny Evans to Dusko Goykovich's poignant muted trumpet and Karl Ratzer's delectable guitar musings on "Farmer's Charm." An array of other fossil-school flavored jazz pieces, including a vocal by Enja's most familiar artist, trumpeter Chet Baker, makes this priced right -- less than ten dollars online -- a listening bargain. Perfect for rainy days and pensive moods. ~ Andrew Hamilton

Classical - Released January 1, 1996 | Christophorus

Distinctions 4 étoiles du Monde de la Musique
£11.99
£7.99

Film Soundtracks - Released January 10, 1975 | Ode Sounds & Visuals

Hi-Res Distinctions The Qobuz Ideal Discography
For the 1975 film version of The Rocky Horror Picture Show, American producer Lou Adler wisely mixed the best of the London and Los Angeles stage versions, shooting the movie in England with Tim Curry and several of the other original cast members, plus Meatloaf (years before Bat Out of Hell), and Americans Barry Bostwick and Susan Sarandon as the innocent couple Brad and Janet. Adler also brought back original London stage musicians in place of the slick studio musicians who had marred the L.A. cast album. The film version resequenced the songs and reassigned some of the vocals, with Brad's song "Once in a While" dropped. But it all worked out fine. The strings that were added to ballads like "Science Fiction/Double Feature" only improved them; the rockers rocked out; Bostwick and Sarandon proved to be the best Brad and Janet ever; the original cast members, especially Curry, reveled in the opportunity to immortalize their portrayals; and Rocky Horror's potential as a witty parody of cheap movies, rock & roll, and sexual mores was fully realized. The film soundtrack album became the definitive version of the score, despite lacking the songs "Planet Shmanet Janet" and "The Sword of Damocles." The Rocky Horror Picture Show was not successful in its initial theatrical run, but then a strange thing happened. In 1976, the Waverly Theater in New York's Greenwich Village began showing the film at midnight on Fridays and Saturdays. Soon, a cult of repeat viewers began turning up every week; they began to dress like the characters, call out their own comments at strategic moments, sing along, and add their own theatrical effects. The phenomenon spread across the U.S., with fans rivaling Trekkies and Deadheads for loyalty and eccentricity, and The Rocky Horror Picture Show took on a life Richard O'Brien never could have anticipated. ~ William Ruhlmann
£1.39
£1.39

Children - Released January 1, 1961 | BNF Collection

Hi-Res Booklet Distinctions The Qobuz Ideal Discography

Film Soundtracks - Released January 1, 2012 | Visiona Romantica, Inc, and Seven Four Entertainment - Universal Republic Records

Booklet

Film Soundtracks - Released January 1, 2011 | The Island Def Jam Music Group

Pop/Rock - Released March 1, 2010 | Sony Music Entertainment

Film Soundtracks - Released July 28, 2009 | Silva Screen Records

R&B - Released January 1, 2008 | Barclay

Alternative & Indie - Released February 14, 2014 | colette

Classical - Released January 27, 2014 | Les Indispensables de Diapason

Booklet

Classical - Released January 27, 2014 | Mirare

Booklet

Electro - Released December 9, 2013 | Freshly Squeezed

Booklet

Ambient - Released December 1, 2013 | colette

Alternative & Indie - Released November 27, 2013 | Because Music - les inRockuptibles

Soul - Released October 21, 2013 | Soul Jazz Records

World - Released October 15, 2013 | Knitting Factory Records

This is the second volume that the AIDS- and HIV-combatting Red Hot Organization has dedicated to the music of Fela Kuti, the late Nigerian creator of Afrobeat, fearless militant political and liberation activist, and cultural icon. The first, Red Hot + Riot, appeared in 2002 and juxtaposed Fela's music with hip-hop, neo-soul, and African folk styles. This 13-track set, compiled by Anthony Demby and Paul Heck, employs the root sounds of Afrobeat more explicitly. Part of the reason for this is undoubtedly the success of the musical Fela! Another is that on the African continent, AIDS and HIV remain massive problems that have taken their toll on families, populations, and national economies. (Fela died of complications due to AIDS.) The set kicks off with "Buy Africa" by Congolese rapper Baloji with L'Orchestre de la Katube and Yoruban singer and songwriter Kuku. The propulsive beats meet the punchy brass and confrontational lyrics head-on in a dazzling rhythm and rhyme collision. Drummer Tony Allen, a bandmate of Féla's and an Afrobeat pioneer in his own right, collaborates with Baloji and rapper M1 on the bubbling "Afrodisco Beat 2013," that weaves funk, hip-hop, Afrobeat, and dub together with lyrics in French and English. "Trouble Sleep Yanga Wake Am" is performed nearly straightforwardly by Jim James and My Morning Jacket, with Brittany Howard of Alabama Shakes and Merrill Garbus of tUnE-yArDs. The vibe is slow, snaky, and hypnotic, though at over 14 minutes, it's too much of a good thing. tUnE-yArDs and ?uestlove back Beninoise vocalist Angelique Kidjo and poet Akua Naru in funking up "Lady." Driven by furious breaks and roiling basslines, they turn the original sexist lyric on its head. The labyrinthine, bass matrix dubstep treatment of "Zombie," by producer Spoek Mathambo with Cerebral Cortex and Frown, is the set's most adventurous selection. Nigerian singer Nneka- born Antibalas vocalist Amayo, all front the manic seven-piece unit Superhuman Happiness in a pumped up, four-on-the-floor reading of on "No Buredi (No Bread)," complete with distorted kalimbas, zigzagging, squiggly synths, and popping basslines. Red Hot + Fela's unique yet nearly seamless-sounding collaborations offer a deeper hearing of Afrobeat in light of its wide-ranging implications trans-culturally, both in the present era and as it points toward the future. ~ Thom Jurek

Electro - Released October 14, 2013 | Because Music

Contemporary Jazz - Released October 7, 2013 | Bonsaï Music

Booklet

Dance - Released October 7, 2013 | La Musique Fait La Force

Miscellaneous - Released August 15, 2013 | Genius-Islands

Dance - Released June 3, 2013 | Wagram Music

French Music - Released April 29, 2013 | Fanon Records

Film Soundtracks - Released January 1, 2013 | Universal Republic Records

Film Soundtracks - Released January 1, 2013 | Universal Republic Records

Rap - Released December 10, 2012 | Brownswood Recordings

Released six months after the previous volume, Brownswood Bubblers Nine offers another diverse yet steady assortment of tracks selected by label boss Gilles Peterson. This time, only one selection comes directly from the DJ's Brownswood label -- "Layou," a pattering avant dub demo from Birmingham, England group Troumaca. Licensed highlights come from promising acts like Australian quartet Hiatus Kaiyote (organic, Questlove-approved contemporary soul), D.C.-based Diggs Duke (a soul-jazz multi-instrumentalist who has a hint of Donald Fagen in his magnetic voice), and U.K./U.S. throwback R&B duo Lady (consisting of veterans Nicole "Make It Hot" Wray and Terri Walker). ~ Andy Kellman
£9.59
£6.39

Electro - Released December 10, 2012 | Pschent

Hi-Res

Film Soundtracks - Released December 3, 2012 | Playtime