'83

The box set 83:13, represents an innovative and bold new commitment of White and Black, as it is not common in the sector risk publish a work of this size, with 15 CDs in one box. But the label has chosen to make an effort: this album 83:13 wants to be a tribute and reminder of the past 30 years creating, editing, distributing dance music in Spain and in the world and has a comprehensive collection of topics that monitors progress dance music published by the company.

Blue Mitchell & Sonny Red - Baltimore 1966 (2016) {Uptown Records UPCD 27.83}
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© 1966, 2016 Uptown Records | UPCD 27.83
Jzzz / Hard Bop / Post Bop / Trumpet / Saxophone

Unreleased material from a really wonderful group – one that features killer alto work from the great Sonny Red – working here in the same kind of small group setting he brought to late 60s performances with Donald Byrd! Yet this time around, the trumpeter is Blue Mitchell – who blows with a lot more bite than on some of his records of the time – really taking his time to craft out long solos on the very extended tracks from this live performance – reminding us that he can be a hell of a creative soloist when not caught up in some of the larger arrangements that would mark some points of his career!

Cherry Red are pleased to announce the release of a comprehensive 4CD set containing expanded versions of their albums “Night People”, its international alternative version entitled “Classix Nouveaux”, “La Verité” and “Secret”.

Private Audition, released in 1982, and Passionworks, issued in 1983, are Heart’s last two albums for Epic before leaping over to EMI. These are generally the forgotten Heart albums, the ones that arrived after the majestic Zeppelin-esque hard rock of the ‘70s and before the arena rock makeover of the ‘80s, but that doesn’t mean they’re deserving of being overlooked, and hearing them on this BGO two-fer may be the best way to appreciate them, as the weak patches are overshadowed by the strong moments on both LPs.

Almost four years after their last studio album, and two years after Francis Rossi and Rick Parfitt agreed to relaunch the hitherto moribund band, Status Quo bounced back with an album that came as close as Christmas to restating the glories that most fans believed were buried a decade earlier. The title track sets things off in the way they mean to go on, a romping cover of a Bolland & Bolland number that could not have been further from the Quo norm if it had tried…

Various Artists - Never Ever Land: 83 Texan Nuggets from International Artists Records 1965-1970 (2008) {3CD Charly SNAJ735CD}
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© 1965-70, 2008 International Artists / Charly / Licensemusic / Snapper Music | SNAJ 735 CD
Rock / Garage-Rock / Psychedelic / Rocking Blues / Mainstream Pop / Oddities

It's not unusual for a small independent record company to be defined by its first major success, and that was certainly the case for the maverick Texas label International Artists. IA began life in 1965 as a fairly ordinary regional outfit releasing pop/rock stuff, but when they scored a nationwide hit with the 13th Floor Elevators' proto-psychedelic anthem "You're Gonna Miss Me," the label's de facto A&R chief, Lelan Rogers, dove headfirst into Texas acid culture and IA became a home for consciousness-expanded acts such as the Golden Dawn, the Bubble Puppy, Endle St. Cloud, and the truly crazed Red Crayola. Never Ever Land is a three-CD set designed to give a reasonably comprehensive picture of International Artists' strange and memorable five-year lifespan.

Ignaz Holzbauer - Tod der Dido (2018) {Carus-Verlag 83.280}
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© 2018 Carus-Verlag, Stuttgart | 83.280
Classical / Mannheim Classical School / Opera

A member of the Mannheim school, Ignaz Holzbauer (1711–1783) was a composer of symphonies, concertos, operas and chamber music who wrote in the style of the Sturm and Drang movement. In his penultimate opera "Tod der Dido" [The Death of Dido] (1779), Ignaz Holzbauer presented himself not only as a master of fine musical word interpretation, but also as an imaginative music dramatist. While the original Italian version underlined his position as one of the leading opera composers of the time, the German version which he wrote a year later additionally emphasizes his position as a pioneer of the German National Opera. Frieder Bernius therefore chose this version for a production performed at the Schwetzingen Festival in 1997, which is now being released here for the first time.