Petaluma

Goodnight Sweetheart, Goodnight

A Taste Of Doo Wop, Vol. 1

Silk City

Buddy Holly's 1st newly remastered midline hits CD compilation in over a decade celebrates the Rock & Roll Hall of Famer's best - 12 songs crackling with youthful electricity, warmth and humor. Highlights include the #1 smash "That'll Be the Day" and the Top 10 hits "Oh Boy!" and "Peggy Sue."

Boogie Woogie is an style of music that began in the 1920's, and by the '40's was the sound of popular music. It's rhythm and energy made it the perfect stepping stone in to what later became Rock & Roll. This massive 3 CD collection has 75 songs, and showcases the best of the Boogie Woogie era. Included are hits from Tommy Dorsey, Andrews Sisters, Stan Kenton, Benny Goodman, and Lionel Hampton.

GREATS of the GRAMOPHONE, Vol. 1

For his 1985 Alligator debut, this blues-rock guitar master chose and arranged all the songs. That was a first, and it's certainly a big part of the reason Roy was able to call this Grammy nominee "the best record I've ever made." Otis Clay, Sonny Seals and Gloria Hardiman guest, but Roy's guitar is the star on "Chicago Smokeshop," "Mrs. Pressure," "A Nickel and a Nail," "Country Boy" and more! Alligator.

Stevie Ray Vaughan trades blistering riffs with Lonnie on "Double Whammy" and four other cuts on this 1985 LP-and that moment was a long time coming. The first record SRV ever bought was a Lonnie Mack LP; he and his hero co-produced this killer guitar album, which also includes "Hound Dog Man," "Satisfy Suzie," "Stop," "You Ain't Got Me," the title track and more! Alligator.

A list Hollywood stars perform songs from the Fox musicals between 1936-1938 remastered from studio playback discs sans dialogue etc. First time available and on 2 CDs listen to Judy Garland, Tony Martin, Shirley Temple, Dolores Del Rio, Barbara Stanwyck, Eddie Cantor, Ethel Merman, Betty Grable, Jane Withers etc.

Soft Machine is a journey through time and space and their glorious artistic past, but also through a classy present, with a band that, despite the changes in members, maintains intact that unique style of psychedelic jazz that combines power and subtlety and that is, almost six decades after it's formation, a registered trademark of one of the greatest contemporary instrumental bands. - ROCKAXIS MAGAZINE, CHILE. The very last studio recording of two icons of the British and European jazz and jazzz-rock, drummer John Marshall and bassist Roy Babbington.

Vladimir Misik is back with a new album, Vteriny, mesice a roky (Moments, Months and Years). The album is Misik's third collaboration with the producer Petr Ostrouchov and follows the prize-winning projects, Jednou te potkam (Once, I Will Meet You; 2019) and Nocni obraz (Night Image; 2021). The album is comprised of fifteen new songs, with lyrics by Vladimir Misik and Michael zantovsk�, songs based on poems by Jan Skacel, Jiri Dedecek and Frantisek Gellner, and one text tailored directly for Misik by Tomas Belko, a one-time fellow band-member of Ostrouchov in Sto zvirat. In the studio, Misik surrounded himself by ten musicians, with the Blue Shadows quartet at the core, which also performed on the previous recordings, featuring Josef stepanek and Petr Ostrouchov on the guitar, Matej Belko on the bass guitar and Martin Novak on the drums. The other players include pianist Jan Steinsdorfer and Hammond organist Ondrej Pivec (now living in the USA), who both were involved on the album Nocni obraz as well, guitarist Lukas Martinek, double bassist Tomas Liska and two special international guests - the Cuban-American percussionist Michito Sanchez and the British performer on the pedal steel guitar B.J. Cole - who both have featured in projects of illustrious colleagues such as Sting, Rolling Stones, Elton John, Depeche Mode, Crosby, Stills and Nash, James Taylor, David Gilmour, R.E.M., Bjork, Stevie Wonder, and others. The album is released on CD and as a 2LP and includes a comprehensive booklet with studio session photos and the lyrics.

Rarely has the existence and work of a painter been so imbued and influenced by music. ANDY lived IN and THROUGH music. Eclectic, he appreciated the popular music of his time as much as the great composers and performers of the Italian Opera. A visitor to the Factory, leaving the "brouhaha" of New York streets, would suddenly discover a mind-blowing musical atmosphere: the radio broadcasting the hits of the time (DONOVAN, BOBBY VEE, IKE AND TINA TURNER), rock & roll but also genuine pop music and "street music" (found thanks to JEAN-MICHEL BASQUIAT), while the Master, miraculously disconnected from this tumult, worked by feasting on CALLAS' albums. It was a surprising and eclectic playlist. Very early on, ANDY got into the world of music records. During his life, he designed many album covers: classical ones at his beginning (for RCA), then crazier with time (for the ROLLING STONES). He completed this cycle in a masterful way with the covers to the soundtrack of FASSBINDER's QUERELLE. He also got involved in record production with the VELVET UNDERGROUND. Though the VELVET UNDERGROUND album was not a success when it released, today the album is considered an iconic masterpiece, even beyond the banana on it's cover. ANDY didn't pursue this direction depressed with the haunting ego questions inherent in any musical group. We are especially struck by his loyal friendships with musicians who we find throughout this album (LOU REED, MICK JAGGER). His friendly feelings were often expressed in a Polaroid session that he generously offered to translated into a portrait. Several of his muses, his �superstars�, were also accomplished musicians such as DEBBIE HARRY and ULTRA VIOLET. In conclusion, from this journey into ANDY's musical universe emerges the coherence of his musical tastes with his pictorial production, which was not burdened with any prejudices and approached countless shores with strength. We can't help but think of KARL LAGERFELD too. Both of them were passionate about the artistic manifestations of their contemporaries, both jealous of their immutable characters and both, each in their own field, were persevering smugglers, almost magically integrating the pure essence of the society in which they live into their respective creations.

United Records was the first successful black-owned record company. Operated by Leonard Allen, tailor, retired policeman and obviously one of exceptionally wide taste in music, the 2 labels (United and States) issued some of the best performances in the jazz, blues, gospel, R&B, Doo Wop, even country between 1951 & '57. Delmark is proud to release this important body of masters including many previously unissued, recorded in studios which pioneered high fidelity recording in the '50s. The United Records Story features many obscure & rare tracks: alternate takes by Jr Wells, Roosevelt Sykes, Jimmy Forrest; rarities by Leo Parker, Grant Jones, Tiny Grimes, The Pastels, Johnny Wicks; and more. 22 tracks(Previously deleted:1/1/11. Original release date:7/20/04)

Della Reese's first recordings, from June 30, 1953, were never issued by United. Jimmy Hamilton Orchestra (mostly from Duke Ellington's Orchestra) accompanies Della on "Yes Indeed, " "Blue And Orange Birds And Silver Bells" (both on a rare out-of-print LP), the unissued "There Will Never Be Another You, " plus an unissued alternate of the title track. Also featured are jazz vocals by Bixie Crawford, Terri Timmons, Betty Mays (with J.J. Johnson and Kai Winding), Helen Fox, Jewel Belle (with Chris Woods), Vanita Smythe, Rena Collins, Debbie Andrews and Helen Thompson. Contains many previously unissed performances.

BOP LIVES / VARIOUS

Various Artists compilation from Pi Recordings, an independent record label dedicated to the work of the innovative.

First 2000 copies include a bonus full-length 4th disc

Classical Music

Classical Music

2014 release from the singer/songwriter. With THE BIG PICTURE, Kat Edmonson has teamed with one of modern music's renowned producers, Mitchell Froom (Paul McCartney, Crowded House, Sheryl Crow.). This skillfully-crafted album introduces extraordinary new layers of pop craft, highlighting Kat's uniquely infectious vocal style as well as her equally exceptional songwriting skills, blending memorable hooks with lyrics that are witty, wise and tender. THE BIG PICTURE builds upon Kat's previous work, but offers even more of her writing, she wrote or co-wrote 11 songs on the album, and more of Kat's unique sound. The album is a delicious batch of Pop perfection with songs that are tight, polished and more upbeat than anything she's done before. Edmonson draws from a wellspring of '50's and '60's Pop, AM radio, present-day Pop-Rock, and movie soundtracks. THE BIG PICTURE is smart, sophisticated and fun, simultaneously classic and modern.

BECHET, Sidney: House Party (1943-1952)

We think music is the greatest of all art forms. With its undeniably temporary nature, we fell it is the perfect reflection of the very banal, but nevertheless inescapable truth we face every day. All must go. The experience of living as a tiny flash of light between two periods of eternal darkness. In music, we explore the sadness in feeling joy, and joy in feeling sadness this brings. We get inspired by the noise around us and the silence within us, and try to make music that moves us when we play it. We hope you feel the same way too.'' The members of the Dutch rock band Paper Motion have been playing for a long time, before the band was officially founded in 2012. They get inspired by the sounds and noises around them, and by the silence within them.

FITZGERALD, Ella: A-Tisket, A-Tasket (1936-1941)

L'integrale Fremeaux & Associes de Charles Trenet realisee sous la direction de Daniel Nevers, puis de Vincent Lisita et Pascal Halbeher, reunit la totalite des enregistrements phonographiques originaux disponibles aupres des collectionneurs sensibilises a l'ambition museographique d'un "catalogue raisonne de l'oeuvre enregistree" du fou chantant. Aux enregistrements choisis et commercialises de l'epoque, le directeur artistique presente les "alternates" qui proposent d'autres versions des memes titres. Cette vocation d'exhaustivite historiographique dediee au patrimoine sonore phonographique s'accompagne (toujours chronologiquement) de documents radiophoniques, de publicites chantees afin d'eclairer la diversite de la production de l'artiste et de reveler retrospectivement les raisons de son appartenance a notre memoire collective.