ABBEY ROAD'S world-renowned engineers have been cutting grooves into discs since the studios first opened in 1931. This record was pressed using a precision technique known as half-speed mastering, in which the source master and cutting lathe run at half speed on a specially adapted Neumann VMS-80. The result is a cut with excellent high frequency response and solid stereo images. In short, half-speed mastering produces a superlative master of the highest quality.

It was Ace Records’ good fortune in 2009 to become the first independent record company in the world to acquire the rights to release previously unissued Motown material from the 1960s. Our tenth and latest Motown project is “Finders Keeper”, a compilation titled for the Marvelettes’ 1964 recording that first surfaced on the British Tamla Motown logo in 1980.

The second recording by the Thad Jones/Mel Lewis Jazz Orchestra is the equal of the first. Most memorable here are "Little Pixie," Fats Waller's "Willow Tree," and particularly, the spirited "Don't Git Sassy." With arrangements by Thad Jones, Bob Brookmeyer and Garnett Brown, and an all-star cast that includes trumpeters Snooky Young, Marvin Stamm and Richard Gene Williams, valve trombonist Bob Brookmeyer, the reeds of Jerome Richardson, Jerry Dodgion, Joe Farrell, Eddie Daniels and Pepper Adams (all of whom solo), pianist Roland Hanna and bassist Richard Davis, among others, this was one of the great big bands. Fortunately, the exciting music on this out of print LP has been reissued on CD as part of a very complete Mosaic box set.

Los Lobos spent years playing parties, wedding receptions, restaurants, bars, and anyplace else where someone might pay them for a gig before landing a deal with Slash Records, and their first full-length album for the label, How Will the Wolf Survive?, is the work of a band that had learned how to play something for everyone while still maintaining their own musical personality in the process. How Will the Wolf Survive? swings back and forth from straight-ahead rock ("Don't Worry Baby") and potent R&B grooves ("I Got Loaded") to country-accented blues ballads ("A Matter of Time") and Mexican traditional numbers ("Serenata Nortena"), with the band's exemplary taste, musical smarts, and road-tested maturity in evidence on every cut.

The item format is a CDThis specific sale is a new release, shipped direct from the manufacturerThe Artist Name is JOHNNY & EDGAR WINTERThe Title is LIVE TOGETHER 1972-1974Condition NewOther CommentsNew Store StockThe Media Condition is NewThis is new and unplayed The Sleeve Condition is NewNew unplayed Product Description -Timeline presents a stunning collection of storming Texas rock 'n' roll by the legendary Winters brothers, bringing together some powerfully intense performances of signature classics by these two sensational artists in their prime. All of these performances were originally broadcast on the King Biscuit Flower Hour radio concert series. Fully restored and professionally remastered for your listening pleasure with background notes and timeline photos.

By 1981, The Eagles had been placed on hold by all members and Walsh was eager to get back on the road; 'I miss playing and I just decided that since my album was done and coming out, I’ve wanted to play for a long time with Kunkel and with Chocolate, and I just decided, what the heck, I’ll just go out and turn it up and improvise like the old days.' Performed at the Reunion Arena in Dallas, TX on July 10th, for broadcast on the King Biscuit Flower Hour radio show during the There Goes The Neighbourhood tour, Walsh is reunited with his pals from Barnstorm (his post-James Gang solo group) and delivers a spirited set with some pieces that you wouldn‘t otherwise hear live. Together, they traverse twelve of Joe's best known songs with Eagles and James Gang tunes mixed in to make any Walsh fan happy. Along with the crowd pleasers, lesser known tracks feature here like The James Gang classic 'The Bomber' making this an even more valuable addition to anyone's collection. Timeline revisits this classic performance with a fully restored and professionally remastered original broadcast. Presented with background notes and archival photos.

It would be difficult to find any musician who experienced such exhilarating highs and such soul crushing lows as did David Crosby on his journey through the 60s and beyond. As the 70s progressed, Crosby began to demonstrate increasingly erratic behaviour, and by the 80s he was deep in the grips of a serious drug abuse problem and his feet were firmly planted on a path of self-destruction. His downward spiral finally bottomed out in 1985, when a drug-related arrest in Dallas resulted in a prison term that forced Crosby to endure the painful steps toward recovery that would eventually save his life. In 1984, the year prior to the big crash, Crosby took to the road, performing solo acoustic sets followed by full blown electric sets that featured an outstanding band of younger San Francisco-based musicians, while former Byrdmate Roger McGuinn opened for the tour. All in all, the Beacon Theater performance from March 24th offers an honest glimpse of Crosby in 1984, a monstrously talented musician headed toward oblivion, but thankfully avoiding such a disaster.

1970 was a pivotal year for Jethro Tull, when their relentless roadwork and perseverance began to pay off. On 24th Jan, British magazine New Musical Express chose Tull as best new group by more than 3,000 votes and their third album, Benefit, was their most ambitious and original work to date. In terms of the band's profile in America, this was the year Jethro Tull had truly arrived. The previous album, Stand Up, introduced guitarist Martin Barre to the fold and found the band stretching well beyond the parameters of the blues-based debut. The 1970 American tour would find the group expanding to a quintet, with Anderson's long-time associate John Evans joining the group on keyboards, further expanding the sonic palette. Classical elements now entered the already heady brew of blues, jazz, traditional English folk, and hard rock that defined the band's sound. This was undoubtedly a turning point for Jethro Tull whose hard work would finally pay off with Aqualung, their most poignant and popular album. From there, Tull were very nearly an American band! Timeline revisits this classic performance live from the Boston Tea Party, Boston on July 10th 1970, with a fully restored and professionally remastered original WBCN FM broadcast.

Wardance shows many of the attributes associated to symphonic rock, from a surrealistic record cover and detailed information about what amplifiers and cymbals the band uses, to song titles like "Star Maiden/Mysterioso/Quasar." But even though Colosseum II had much in common with symphonic rock, they were more of a jazz-rock or fusion band. While none of the musicians are anything even close to restrictive in their playing, Moore's solo guitar is what many of the songs are built up around. His distinctive way of playing, while still in development, is clearly heard, as are similarities to his first solo album Grinding Stone, especially in the album's only vocal song, "Castles." This was the second album released by Colosseum II in 1977, and their third in two years.

In a three-year period, Stan Getz played with bands featuring either pianist Duke Jordan or a young Horace Silver. This is the boppin' Getz on tenor, playing standards fervently. There are two Gigi Gryce originals, the Getz original "Hershey Bar," and Silver's "Penny" among the 24 tracks. This is a decent introduction to the pre-bossa nova player the world would later know.

The Braunfels—a concerto in all but name—and Pfitzner make an apt pairing, two works dating from the twilight of German Romanticism. Both are heroically dispatched by Markus Becker, with Constantin Trinks and his Berlin Radio Symphony forces providing idiomatic support.

Death Walks Behind You is the second studio album by British rock band Atomic Rooster. It was their first album to receive US release, albeit in a different sleeve. It is commonly thought of as the archetypal Atomic Rooster album, recorded by the 'classic' line-up of Vincent Crane, John Du Cann and Paul Hammond. It is certainly, critically and commercially, their most successful album and often hailed as a classic of the progressive rock genre. It also produced the hit single "Tomorrow Night" (UK #11), which became one of the band's best-known songs. The album's cover features the William Blake monotype Nebuchadnezzar.

Melancholy Grace is a poetic collection of keyboard music from the 16th and 17th centuries by composers from Italy, the Netherlands, England and Germany, including Frescobaldi, Luigi Rossi, Picchi, Luzzaschi, Sweelinck, Dowland, Bull and Gibbons. The French harpsichordist Jean Rondeau has conceived the album as a sombre, but eloquent dialogue between two contrasting voices: melancholy conveyed through chromaticism and melancholy conveyed through the musical expression of tears and weeping. Each voice finds expression through a different instrument: a 16th century Italian virginal (a compact harpsichord) for the ‘tears’ and a modern replica of an 18th century harpsichord for the ‘chromatic’ pieces.

The Parensi manuscript from the Biblioteca Nazionale Palatina in Parma is an exceptional historical document full of wonderful music. The name Paolo Parensi is mentioned on the title page it could have been the owner, copyist or player of this collection. The composers of the individual works, on the other hand, are not mentioned and can only partly be determined by comparing them with other sources; often the authorship remains only conjecture or completely in the dark. "The Parensi Manuscript" is thus an approach to the unknown a snapshot of a hitherto anonymous recorder repertoire from 18th century Italy. With this recording, the young recorder player Tabea Schwartz presents a fantastic debut CD.

Saltatio Mortis have entered into a very special collaboration for their album to be released in 2024: