The Complete Library of Congress Recordings

The Austrian Document Records label begins its series of CDs presenting Leadbelly's commercial recordings in chronological order from 1939, although annotator Ken Romanowski acknowledges that the singer "had recorded a combined total of well over two hundred titles" prior to that date, tracks made either for the Library of Congress or ARC Records under the auspices of John Lomax. Still, most of those tracks had not been issued, and, contrarily, most became readily available later on either Elektra or Columbia Records. Two exceptions are 1935 alternate takes of "Daddy I'm Coming Back to You" (take three) and "Shorty George" (take two), which lead this album off as bonus tracks…

The six earlier volumes in Austrian reissue label Document Records' series of albums featuring Leadbelly's commercial recordings are given the date range of 1939 to 1947. But this seventh volume runs up to the year of Leadbelly's death, 1949, after having started with a couple of airchecks from a broadcast of the This Is Jazz radio series from June 14, 1947 ("Green Corn" and "John Henry"). These tracks are followed by four recorded for the Library of Congress, and the rest of the album consists of more radio broadcasts or concert performances that were issued on LPs by Folkways Records or, in the case of the last two, "Old Ship of Zion" and "I Will Be So Glad When I Get Home," from Playboy Records' album of one of the singer's last concert at the University of Texas on June 15, 1949…

Coordinated by acoustic Delta guitarist Steve James (who also penned the liner notes and appears on two tracks), this is a respectful but refreshingly not-always-reverent tribute to the undisputed king of the Delta blues. Although there are only 12 tracks and some of Patton's defining tunes – like "Screamin' and Hollerin' the Blues" and "A Spoonful Blues" – are MIA, these performances capture the spirit of Patton and show how his legacy extends to contemporary blues musicians.

"MAY 1977: GET SHOWN THE LIGHT is a collection of what is unanimously believed to be the most sought-after previously unreleased complete shows the Grateful Dead ever played. Collected, traded, and debated for decades, "the beloved Golden Trinity" of Boston, Ithaca, and Buffalo, along with their New Haven prelude, have inspired fans to "get on the bus," converted critics, and even garnered national attention (Cornell was added to the Library of Congress’ National Recording Registry). But until now, you've never really heard them quite like this!

This collection spotlights the great Delta bluesman Son House at three distinct points in his life. Included here are three of his 78s issued in the 1930s by Paramount Records, several of the Library of Congress field recordings done by Alan Lomax in 1941-1942, and a sampling of rediscovered 1960s concert pieces, including a riveting version of Blind Willie Johnson's "John the Revelator." All of this material is available elsewhere, but having examples of these different eras all on one disc makes this set a nice introduction to the full sweep of House's recorded legacy.

There was not then & there is not now a more profound interpreter of the piano sonatas of Ludwig van Beethoven than Artur Schnabel, & his 1930s recordings of them are now as they have always been & as they will always be the greatest recordings of the works ever made. Schnabel’s Waldstein Sonata is pure joy, his Appassionata is dark despair, & his Sonata in E minor is complete consolation. Schnabel’s Sonata in E major is radiant bliss, his Sonata in A flat is luminous ecstasy, & his Sonata in C minor is numinous spirituality. Generations of critics have carped at Schnabel’s technique &, in truth, he does lack the technique to play the closing movement of the Appassionata at tempo. But generations of listeners have heard Schnabel’s deep soul & his sublime musicianship & have therefore cheerfully disregarded any critical quibbles in gratitude for Schnabel’s transcendent performances. EMI’s remastering of the 1930s monaural originals is obviously antique but nevertheless clear enough to let the lucid light of Schnabel’s performances shine through. Anyone who values their immortal soul should listen to these recordings.