M i l i t a r y C l a s s i c s

Sam Cooke’s SAR Records Story is a double-disc set presenting material recorded for the legendary soul singer’s own SAR label from 1959-1965, much of it produced by Cooke himself and including a few of his rough, unreleased demos. The first disc covers the label’s religious side, with a multitude of cuts from Cooke’s former group the Soul Stirrers (now with Jimmie Outler on lead vocals), plus a generous helping of songs by R.H. Harris & His Gospel Paraders and the Womack Brothers. The second disc covers essentially the same gospel-derived soul territory but with a secular bent, featuring future stars Bobby Womack (with the Valentinos), Billy Preston, and Johnnie Taylor, plus L.C. Cooke, Johnnie Morisette, the Simms Twins, and Mel Carter. All in all, it’s an excellent look at a lesser-known portion of Cooke’s career, and there’s some great, underappreciated music to boot.

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.

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.

If I Break Horses’s third album holds you in its grip like a great film, it’s no coincidence. Faced with making the follow-up to 2014’s plush Chiaroscuro, Horses’s Maria Lindén decided to take the time to make something different, with an emphasis on instrumental, cinematic music. That album is Warnings, an intimate and sublimely expansive return that, as its recording suggests, sets its own pace with the intuitive power of a much-loved movie. And, as its title suggests, its sumptuous sound worlds – dreamy mellotrons, haunting loops, analogue synths – and layered lyrics crackle with immersive dramatic tensions on many levels.