Finweek From 19 Novem 2015

For All The Cats - The Best of Marc Bolan & T. Rex is the definitive 2CD / 49 tracks Marc Bolan collection featuring 20 Top 50 Hits including 4 Number 1 singles plus a generous helping of B-sides, key album tracks and rarities plus a new essay by Alexis Petridis, 20 page booklet featuring label photos and liner notes.

The Epic is saxophonist Kamasi Washington's aptly titled, triple-length, 172-minute debut album for Brainfeeder. He is a veteran of L.A.'s music scene and has played with Gerald Wilson, Harvey Mason, Flying Lotus, and Kendrick Lamar (his horn is prominently featured on To Pimp a Butterfly), to name but a few. Most of his bandmates have played together since high school, and it shows. There are two drummers (including Ronald Bruner), two bassists (including Stephen "Thundercat" Bruner on electric), two keyboardists, trumpet, trombone, and vocals (Patrice Quinn). In various settings, they are supported by a string orchestra and full choir conducted by Miguel Atwood-Ferguson. Washington composed 13 of these 17 tunes; he also meticulously arranged and produced them. At just over six to nearly 15 minutes, the jams leave room for engaged improvisation. The Epic is based on a concept, though it's unnecessary to grasp in order to enjoy. The music reflects many inspirations – John Coltrane, Horace Tapscott's Pan-African People's Arkestra, Azar Lawrence's Prestige period, Donald Byrd's and Eddie Gale's jazz and choir explorations, Pharoah Sanders' pan global experiments, Afro-Latin jazz, spiritual soul, and DJ culture.

Jerry Lee Lewis - Who's Gonna Play This Old Piano (1972) & Sometimes A Memory Ain't Enough (1973) {2015 BGO Records Remaster}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 429 Mb | MP3 @320 -> 154 Mb
Full Artwork @ 300 dpi (jpg) -> 33 Mb | 5% repair rar
© 1973-73, 2015 Mercury / BGO Records | BGOCD1174
Country / Rock'n'Roll / Honky Tonk

Two Mercury label country albums dating from 1972 and 1973. Both albums reached the Top 10 US Country chart, spawning the hits 'No More Hanging On', 'Sometimes A Memory Ain't Enough', 'I'm Left, You're Right, She's Gone' and 'Who's Gonna Play This Old Piano'. With his new biography getting rave reviews, Jerry Lee's profile is as huge as ever. Digitally remastered and slipcased, and with new notes by Andrew McRae.

RAINBOW'S tour of Japan in March 1984 would be their final set of live shows before they disbanded in April that year with Ritchie Blackmore and Roger Glover joining the Deep Purple Mark II reunion. This show from the famous Budokan in Tokyo captures the band in scintillating form performing tracks from across their career including a stunning version of "Difficult To Cure" with full orchestra and other classics including "Spotlight Kid", "I Surrender", "Catch The Rainbow", "All Night Long", "Can't Happen Here" and more.

At the height of the famous Querelle des Bouffons (1754), the elderly Rameau yielded to insistent requests from the Académie Royale de Musique for a major revision of Castor and Pollux, 17 years after the lukewarm reception of its premiere. He deleted the Prologue and made substantial modifications to the dramatic structure, with a completely new first act! But the original has continued to overshadow the revision, unjustly so when one considers the modernity of its orchestration. The inspired direction of Raphaël Pichon shows the extent to which this music heralds the Classical orchestra.

This is a box set of previously unreleased live recordings from Yes's 1972 (fall) North American tour. There are seven concerts here, and each concert is covered by a pair of CDs. Each pair comes in its own double gatefold with unique artwork. On the inside is printed the location and date of the concert, along with the tracklisting and credits…

Although he didn't become widely known until the 1970s, Dr. John had been active in the music industry since the late '50s, when the teenager was still known as Mac Rebennack. A formidable boogie and blues pianist with a lovable growl of a voice, his most enduring achievements fused with New Orleans R&B, rock, and Mardi Gras craziness to come up with his own brand of "voodoo" music. He's also quite accomplished and enjoyable when sticking to purely traditional forms of blues and R&B. On record, he veers between the two approaches, making for an inconsistent and frequently frustrating legacy that often makes the listener feel as if "the Night Tripper" (as he's nicknamed himself) has been underachieving.