Most entries in the Back to Mine series allow the artists to investigate their wide but dabbling tastes in influences - a bit of dance, a bit of alternative, some roots in '60s pop or soul perhaps, and maybe a stray nugget from something obscure like Krautrock or dub or rockabilly. The other volumes usually come from true DJs or, rarely, those with something special to say. Regardless of whether you enjoy Röyksopp's vision of polished downbeat pop, the duo's interest in post-disco and Euro-dance pays major dividends here for those looking to hear something beyond the usual Klein + M.B.O. or Alexander Robotnick singles. The vast majority of the tracks hail from that magical time (1978-1984) when disco, new wave, and synth pop were colliding with fantastic results, especially considering the quality of these obscurities, from the cold Teutonic harmonies of Harry Thumann's "Sphinx"…

Eugene Ormandy & The Philadelphia Orchestra - The Columbia Stereo Collection 1964-1983 [94CDs Box Set] (2024)
EAC Rip | FLAC (*track+.cue) | Run Time: 03:14:07:35 | 26.08 Gb
Genre: Classical | Label: Sony Classical

This massive new reissue from Eugene Ormandy’s stereo discography collects all the Columbia Masterworks recordings he made in Philadelphia between the early 1960s and early 1980s. Sony Classical’s new 94-CD box set once again demonstrates what noted critic Jed Distler, reviewing the previous instalment of this ambitious project “The Columbia Stereo Collection 1958–1963” in Gramophone’s December 2023 issue, characterized as “the Philadelphia Orchestra’s brilliance and versatility as well as Ormandy’s unflappable consistency and habitually underestimated interpretative gifts”. Some of these performances – including the complete recording of Bach’s St. John Passion, Hindemith’s Symphonic Metamorphosis, Schubert’s Sixth Symphony and a disc of opera choruses with the Mormon Tabernacle Choir, as well as Ginastera’s Concerto for Strings and the ballet music from Massenet’s opera Le Cid – have never appeared before in the digital medium, and they shine a light into new corners of Ormandy’s astonishingly large repertoire.

Excellent album by the band from Mexico. "Back" is excellent psychedelic rock with pop and garage touches full of well played cool organ and a feeling of "Love & Freedom" all over it, although it has its dark moments too.

Brothers Lee and Sam King bring us this splendid flaming CD. Their blues will burn and rip deep inside you with a tremendous passion. This Texas blues is very much influenced by legendary Texan musicians who unfortunately have passed away like Freddy King and Albert King, but also they pay homage to Big Joe Turner or Shakey Jake Harris.

Issued in 2008, this three-disc box set, compiled by Rhino Records and available only at Barnes & Noble, presents the first solo albums released by Peter, Paul & Mary following the famous folk trio’s 1970 break-up. While Peter Yarrow and Mary Travers offered up PETER and MARY, respectively, Noel Paul Stookey cheekily entitled his record PAUL AND, also managing to score a significant hit with the elegant, nuptial-themed “Wedding Song (There Is Love).”

Tenor saxophonist Buck Hill spent most of his prime years working as a mailman in the Washington, D.C., area and occasionally playing jazz at night. He was already a veteran when he began recording in 1978 and, fortunately, his legacy has been well documented ever since. A thick-toned tenor, Hill has a style that is boppish and looks both toward swing and hard bop simultaneously. Joined by a fine, if obscure, Washington-based rhythm section, Hill performs five of his basic originals and four standards on this date, including "Blue Hill," a lyrical "But Beautiful," a cooking "I Want to Be Happy," and a melodic rendition of Duke Ellington's "Warm Valley." This CD is an excellent example of Hill's musical talents.

Under Mahan Esfahani’s hands—and occasionally fists—the harpsichord is transmogrified into an elemental force, by turns supported or menaced by an astonishing arsenal of electronics. Concerned listeners please note: no harpsichords were harmed in the making of this album.

Regarded in his day as equal to Handel and Telemann, Reinhard Keiser composed more than one hundred operas, of which Fredegund , set partly in German and partly in Italian, was one of the most popular. It explores the politically volatile relationships between the sixth century Frankish king, Chilperich, whose ambitious mistress Fredegunda is prepared to use magic to become his queen, although Chilperich is betrothed to Princess Galsuinde and Fredegunda also has a secret relationship with Langerich. This important and entertaining German Baroque opera abounds in melodious, often ravishingly orchestrated, music.

The new recording by recorder player Dorothee Oberlinger with violinist and countertenor Dmitry Sinkovsky shows the musical turn of time from the Renaissance to the Baroque in a kaleidoscope of newly conceived, experimental declamatory music by Italian masters, who for the first time expressed passions such as love and hate, grief and joy, astonishment and longing in music to the fullest.

Written and conceived during a period of inner-band turmoil, Clutching at Straws would prove to be Fish's swan song, and perhaps Marillion's most unheralded masterpiece. Teaming up once again with producer Chris Kimsey, Clutching at Straws showcases some of the band's most satisfying compositions, including the magnificent "Warm Wet Circles" and "That Time of the Night (The Short Straw)." Bookended by Fish's disgust with not only himself, "Torch Song," but also with the burgeoning neo-Nazi uprising in Europe, "White Russian," the great Scot delivers an inspired condemnation. The commercial pomp and circumstance of "Incommunicado" also gives way to a self-parodying confessional inspired by Fish's inability to see himself as a bona fide rock star and celebrity ("I want to do adverts for American Express cards, talk shows on prime time T.V.")…