Souls in The Moonlight 2 Aka Daibosatsu Tôge – Dai ni Bu (1958) Tomu Uchida, Kusuo Abe, Harue Akagi, Chiyonosuke Azuma

Digitally re-mastered and expanded edition including 15 bonus tracks. Howlin' Wolf was one of the greatest characters and most electrifying performers in Blues history. He was an imposing presence, blessed with a thunderous voice, enormous physical strength, and a pair of lungs that would not quit. Wolf didn't just startle audiences, he menaced them into submission. In addition to his powerful voice, he was also an accomplished harmonica player. This quintessential collector's edition contains Howlin' Wolf's outstanding debut album for Chess Records, Moanin' in the Moonlight, one of the all-time cornerstones of the genre. We have also included 15 bonus tracks (gathering a variety of those great sides he recorded between 1951 and 1960), making this the definitive edition of Wolf's Blues masterpiece.

"In the Moonlight", Sophie Milman's fourth album, finds the artist creating her most sophisticated and accomplished work to date, drawing upon her sublime interpretive skills and unique personal history to deliver a deeply compelling set of jazz and pop standards that showcases the subtle emotional shadings of her singing.

Moanin' in the Moonlight is the first album by American blues artist Howlin' Wolf, released by Chess Records in 1959. It contains songs previously issued as singles, including one of his best-known, "Smokestack Lightning". Rolling Stone ranked it number 477 on its 2020 list of "the 500 Greatest Albums of All Time".

Frontiers Music Srl is proud to present the debut solo album from vocalist Tommy DeCarlo, Dancing In The Moonlight.

When first released in 1959, PERSUASIVE PERCUSSION was probably the first to put stereo discs on the map bringing to light the startling and innovative musical aspects of stereo sound on records. The music was brilliantly recorded and arranged with great imagination and infinite care to bring out the whole spectrum of sound on one's stereo equipment. Originated and produced by Enoch Light, the album presented an entirely new concept in the recording of percussion instruments performed by Terry Snyder and The All Stars which included talent such as Tony Mottola, Dick Hyman and Willie Rodriguez.

This 77-minute CD is close to an ideal compilation, reaching back to before the band's beginnings for the original 1965 recording of "I-Feel-Like-I'm-Fixin'-to-Die Rag" and across seven of the better cuts off of Electric Music for the Mind and Body, up through the Woodstock Festival and the band's farewell concert that same year at the Fillmore West. It reels in most of the notable album cuts in between, all in surprisingly good sound (not usually a strong point on Vanguard CDs of the late '80s). The 19 songs, which don't follow a strict chronological order, encompass some of the band's most celebrated experimental material, as well as more traditionally structured songs such as the fiery double-lead guitar workout "Death Sound Blues," the catchy, folk-rock-style "Sing Sing Sing," and the counterculture singalong "Marijuana" and works of serious personal significance (and intimately focused genius), including "Grace" and "Janis." The disc offers a good balance between the various sides of the group's sound and includes several notable live tracks, including the November 1968 Fillmore East performance of "Superbird," an anti-Lyndon Johnson song that dated back to 1965 and which is adapted here to include an attack on president-elect Richard Nixon. The sound is amazingly good and consistent throughout, and the track order, as well as the music itself, is downright spellbinding at times; the annotation is minimal, but this CD really has only a single flaw – apparently, between the 1965 original version of "I-Feel-Like-I'm-Fixin'-to-Die Rag" and the 1969 Woodstock performance, there was no room for the standard studio version off of the band's second LP.

Solveig Slettahjell was one such artist welcomed back into ACT label's fold. The ACT label released her early albums, establishing her international reputation as one of Europe’s leading jazz vocalists. Here she was partnered up with In The Country, the piano trio involving her close friend Morton Qvenild, pianist, sonic explorer and also a member of Solveig Slettahjell‘s Slow Motion ensembles. The real surprise that evening, however, came from adding the blues guitarist Knut Reiersrud. He had been on Siggi Loch's radar for quite some time, and on this occasion was having his first ever meeting with Slettahjell and her crew. It turned out to be an ideal combination. The evening was a celebration of everything that had made the Nordic sound so attractive and successful for many decades. On the one hand there was the elegiac, bluesy side, inspired by the spirit of indigenous folk music; on the other the electronic, the rhythmically daring and the experimental.