Mix With The Masters

After more than 50 performances with symphonies across America, 'Indigo Girls Live with The University of Colorado Symphony Orchestra' was recorded in front of a sold-out audience in Boulder, CO. It captures the Grammy-winning duo at their finest: raw, real, and revelatory. Spanning material from throughout the band's career, the 22-song set features a mix of reimagined classics, including fan favourites "Galileo" and "Closer to Fine", unexpected deep cuts, and tracks from Indigo Girls' previous studio album, 'One Lost Day'. The recording was mixed by Grammy-winner Trina Shoemaker (Sheryl Crow, Emmylou Harris).

In the early weeks and months of the pandemic, confined to my Brooklyn apartment in the silenced city, I dreamed of wide-open spaces and the freedom to roam. I started researching “trail songs,” drawn to their lyrics about pale dawns, slumbering shadows, and other evocative imagery. What heaven, to saddle up a reliable horse and wander, unworried and unhurried, under a vast Western sky!

The final edition “Last Sessions” that will lead to the completion of the Beatles’ last album “LET IT BE” is now available! A sound source ollection that summarizes many mix differences and various versions from the unreleased original acetate master! !! [Original press board imported directly from overseas] ★ Remastered all songs of Glyn Johns original acetate master before editing the album “GET BACK”! Covers sound sources with different mixes such as soundtracks for the movie “LET IT BE”, John Barrett and anthology. Includes official unreleased sound sources such as orchestra overdubbing and acetate mix for the album “LET IT BE”.

The Brand New Heavies celebrate 35 years since the release of their debut single with Never Stop… The Best Of, a new compilation bringing together 21 tracks.

The final edition “Last Sessions” that will lead to the completion of the Beatles’ last album “LET IT BE” is now available! A sound source ollection that summarizes many mix differences and various versions from the unreleased original acetate master! !! [Original press board imported directly from overseas] ★ Remastered all songs of Glyn Johns original acetate master before editing the album “GET BACK”! Covers sound sources with different mixes such as soundtracks for the movie “LET IT BE”, John Barrett and anthology. Includes official unreleased sound sources such as orchestra overdubbing and acetate mix for the album “LET IT BE”.

Doug Sahm is one of the great figures in 20th century American music, which isn't quite the same thing as saying he's one of the best-known musicians. As the frontman of the Sir Douglas Quintet, he had a Top 20 hit with the garage rock classic "She's About a Mover" in 1966 and a Top 30 single with "Mendocino" three years later, but after that he settled into a small but intensely devoted cult following. Not that there weren't attempts to break him on a wider scale – after the Quintet broke up, Atlantic launched a publicity blitz for a pair of solo albums in 1973 – but they never quite clicked, probably because Sahm's music, no matter how brilliant it was, never was popular music. It was a wild, wooly blend of rock & roll, soul, country, blues, and Tex-Mex, as informed by the sunny vibes of hippiedom as it was by the rowdy spirit of garage rock. Sahm created this sound with the Sir Douglas Quintet in the late '60s and over the next three decades he never strayed from it, but those records that the band released between 1968 and 1971 (plus 1973's rarities round-up Rough Edges) remained at the core of his legacy, and for good reason: not only did they illustrate the breadth and depth of Sahm's ambition, they're simply dynamic rock & roll, truly visionary American roots music.

Doug Sahm is one of the great figures in 20th century American music, which isn't quite the same thing as saying he's one of the best-known musicians. As the frontman of the Sir Douglas Quintet, he had a Top 20 hit with the garage rock classic "She's About a Mover" in 1966 and a Top 30 single with "Mendocino" three years later, but after that he settled into a small but intensely devoted cult following. Not that there weren't attempts to break him on a wider scale – after the Quintet broke up, Atlantic launched a publicity blitz for a pair of solo albums in 1973 – but they never quite clicked, probably because Sahm's music, no matter how brilliant it was, never was popular music. It was a wild, wooly blend of rock & roll, soul, country, blues, and Tex-Mex, as informed by the sunny vibes of hippiedom as it was by the rowdy spirit of garage rock. Sahm created this sound with the Sir Douglas Quintet in the late '60s and over the next three decades he never strayed from it, but those records that the band released between 1968 and 1971 (plus 1973's rarities round-up Rough Edges) remained at the core of his legacy, and for good reason: not only did they illustrate the breadth and depth of Sahm's ambition, they're simply dynamic rock & roll, truly visionary American roots music.