Pop polymath Wilson Malone - multi-instrumentalist, songwriter, vocalist, producer, arranger - has achieved cult acclaim for his early work in the soft white underbelly of the British pop industry, being responsible for a number of highly collectable singles and albums during the psychedelic and progressive rock eras before recording the soundtrack to the 1972 British horror film Death Line (retitled Raw Meat for the American Market) and working with such storied names as Cliff Richard and Roger Daltrey. However, genuine heavyweight success didn't arrive until some thirty years into Wil's career, when he provided the striking string arrangements that underscored major Nineties hits by The Verve ('Bittersweet Symphony') and Massive Attack ('Unfinished Sympathy'). His work has been featured in movies, TV shows, and commercials. His contributions to the soundtracks of various media have helped create mood and atmosphere in visual storytelling.

Eat a Peach is a 1972 double album by American rock band the Allman Brothers Band, containing a mix of live and studio recordings. Following their artistic and commercial breakthrough with the July 1971 release of the live album At Fillmore East, the Allman Brothers Band got to work on their third studio album. Drug use among the band became an increasing problem, and at least one member underwent rehab for heroin addiction. On October 29, 1971, lead and slide guitarist Duane Allman, group leader and founder, was killed in a motorcycle accident in the band's adopted hometown of Macon, Georgia, making it the final album to feature him. Produced by Tom Dowd, the album was released on February 12, 1972, in the United States by Capricorn Records. It was the band's fourth album since their debut The Allman Brothers Band in 1969; released as a double album, it constitutes both their third studio album and second live album.

A favourite of guitar legends (and God) Peter Green, Mick Taylor and Eric Clapton, Texas born Freddy King is perhaps lesser known than Albert and B.B but holds his own as a true Blues guitar great. The two discs here feature Freddy s first two albums released on King records. The first supplied numerous charting singles while the second is entirely instrumental and houses his masterpiece Hideaway . The bonus tracks included pair King and label mate Lulu Reed.

The set includes Otis Clay, Alvin Cash, Harold Burrage, Betty Everett and Lonnie Brooks and also one of the greatest dance 45rpms of all time, ‘Shake A Tail Feather’ by The Five Dutones., which was taken to international fame when performed by Ray Charles in the movie, The Blues Brothers. ‘Move with the groove’ includes a memorabilia-laden booklet complete with a full history of the labels and potted biographies of the featured artists and to paraphrase Symtec & Wylie’s track is ‘Sockin’ Soul Power’ all the way.

Richard Thompson is the kind of performer who has nothing left to prove and yet this double album underlines just what it is that makes him special and has kept him at the top of the game for over 50 years. ‘Historic Classic Concert - Live In Nottingham 1986’ is unmissable. ‘Historic Classic Concert - Live In Nottingham 1986’ from Richard Thompson is issued for the first time ever on 2CD through Store For Music. This is a concert that has been hidden in the archives for all these years; an historic classic live performance, now to be enjoyed by all Richard Thompson fans around the world. Having made his name with Fairport Convention, which he co-founded in 1967, Richard Thompson left in 1971 and has gone on to enjoy a stellar solo career ever since encompassing 25 full studio albums. He has also always been a live performer par excellence and this show from 1986 captures him on sparkling form.

Hertel was born as son of Johann Christian Hertel, a well-respected violinist and composer. He received his first music lessons from a pupil of Johann Sebastian Bach, and he accompanied his father already at the age of 12. In 1744 he became violinist and harpsichordist at the court in Strelitz, which was dissolved in 1752. Two years later he was employed at the court in Schwerin, where he stayed until his death, although the court chapel moved to Ludwigslust in 1767. He remained at the service of the court, and concentrated on composition, organising concerts at the court and musical education.

After several hit albums in the U.K., Level 42 finally found American success with the 1986 album World Machine and its hit single, "Something About You." When 1987's follow-up release Running in the Family also scored on this side of the Atlantic, it seemed Level 42 was here to stay. But 1988's Staring at the Sun was an artistic catastrophe and a commercial failure, and Level 42 would never again reach the artistic and commercial peak of its two U.S. successes. Guaranteed was a considerably better album than Staring at the Sun – not that the band could do much worse – but it went virtually unnoticed in America.

These three piano concertos are constructed from sonatas by J C Bach. Mozart's poetic lightness of touch he later developed to a very high standard as yet to materialize. Yet they are delightful pieces without the emotion and drama of concertos to come. The disc also features Johann Samuel Schrother's piano concerto in C major, Op. 3 no. 3 a contempary of Mozart. Wolfgang Amadeus Mozart wrote the concerto's cadenzas.

Wonderland is full of magic and myth. Containing exclusively works commissioned by The King’s Singers across their 55 years; the album celebrates their trademark musical storytelling; with no shortage of comedy. György Ligeti’s six Nonsense Madrigals; each setting playful children’s poetry or extracts from Lewis Carroll’s Alice’s Adventures in Wonderland; provide a musical spine to the album; commemorating 100 years since the composer’s birth in 1923.

After the tremendous reaction to our exhaustive Sacramento '60s anthology the Ikon Records Story, Frantic Records is proud to present an equally-rockin' 30-track bumper bundle of classy '60s punk from California's capital, 1965-67, the result of a decade of sleuthing, So Cold!!! spotlights some of the best vintage punk, folk-rock and garage pop you are likely to hear, all from the raging suburban punk scene that engulfed Sacramento and it's environs during the halcyon daze of the mid-1960s. Though So Cold!!! features several rare single sides that have not appeared on CD before, the vast majority of this power-packed collection is previously unreleased. The program ranges from the city's big groups like the Marauders, the Fugitives and Gear One, to obscure but dynamic punkers from the Squires, Sel-Sync and Mods. A major coup was locating the rare handful of recordings by local legends Plague, Ltd. And the Heard. Once again we feature detailed liner notes from '60s punk expert Alec Palao, plus a parade of eye-popping pix n' visuals. So Cold!!! is one garage compilation that is definitely not to be missed!

From the Philip Glass Archive is a series of releases from Orange Mountain Music which seeks to document archival and unreleased material or reissue classic albums by Philip Glass. The current volume, the sixth, features a collaboration between Glass and African musician Foday Musa Suso from a score they both worked on in the 1990s. The work was incidental music to the play The Screens by Jean Genet and was directed by JoAnne Akalaitis. Glass described the collaboration as the closest thing he had come to at that point of a true collaboration with both artists contributing original pieces and both working on many in the score together. The Screens was originally released on Point Music in the late 1990s. Orange Mountain Music is also pleased to present this remastered version with the inclusion of two bonus tracks of Philip Glass and Foday Musa Suso LIVE, recorded in New York in 2009.

Norman Jeffrey "Jeff" Healey was a blind Canadian jazz and blues-rock vocalist and guitarist who attained musical and personal popularity, particularly in the 1980s and 1990s. He reached the Top 10 in Canada with the songs "I Think I Love You Too Much" and "How Long Can a Man Be Strong." Hell to Pay is the second album by The Jeff Healey Band. It was released in 1990, and was one of the top albums in Canada. In 1991 it was nominated for an "Album of the Year" Juno. Guest musicians on the album include George Harrison, Jeff Lynne, Bobby Whitlock and Mark Knopfler. The album was recorded at Le Studio in Morin Heights, Quebec, Canada in January and February 1990.

With this volume we celebrate 20 years since Fading Yellow volume 1 cd. Fading Yellow created a genre all of its own and praised by many including Bob Stanley. "It’s twenty years since I walked into a record shop in Stockholm and heard Disraeli’s mournful, gently thunderous What Will The New Day Bring. I asked the owner what he was playing and he told me it was Fading Yellow volume 2. He played snatches of volume one. I bought both on the spot. Here was a new subset of music which I had always loved, without thinking of it as a subset. Fading Yellow magically bound the softer end of psych with singer-songwriters and beat groups; what they had in common - aside from woodwinds, harpsichord and cellos - was minor chords. The heart of Fading Yellow is rarely sad but always melancholy. Twenty volumes in and it still sounds magical." – Bob Stanley 2022 The usual high quality 45’s musically, this time from the USA and, as always, all the tracks doing their first entrance on any compilation. Groups including Magic Ring, Second Helping, The Mother Love, Luv Birds, The News etc. All late 60’s popsike and other delights. Don’t miss out on this wonderful volume.

Among the most popular and enduring British hard rock bands of the past 25 years, Thunder are to launch the previously unreleased live album "Live At Islington Academy" on January 26, 2024.

Get Your Lie Straight is chronologically the last of a triumvirate of releases dedicated to Galaxy Records (see also "Diggin' Gold" elsewhere in this issue). in case anyone needs reminding, Galaxy was the much-maligned black music subsidiary of Fantasy Records. While Creedence was storming the charts in the late 1960s and earning the parent label buckets of overdue rock'n'roll kudos (not to mention cold hard cash), the earthy Galaxy imprint was quietly issuing one hot R&B record after another.