Robert Seinfield

Robert Cray adds a bit more soul to the mix on this album, which features the Memphis Horns most prominently. Most of the songs are Cray doing what Cray does best–slow, soulful, done-me-wrong (or, alternatively, I-done-wrong) songs chock full of great guitar. No complaints there, and when he adds a bit of vocal growl here and there, as on the album opener "The Forecast (Calls for Pain)" (also featuring some excellent bass from Richard Cousins), and the slow shuffle "Holdin' Court," it keeps things interesting. This album indicates a slight shift in Cray's direction; although he's always included a touch of soul in his blues, here it's more pronounced than before, a tendency he continued in subsequent recordings.

When Robert Fripp’s Music For Quiet Moments started to appear with relatively little fanfare in May 2020, as a series of weekly uploads to YouTube and streaming services, their overall effect was one of balm. Moving through the digital ether, Fripp’s ambient soundscapes slowly drifted their way through a collective psychological environment grappling with the uncertainty of pandemic times…

This 14-song collection, consisting of tracks recorded on July 12, 1951, and October 25, 1952, completely transforms the landscape where Robert Nighthawk's music is concerned. Up to now, apart from seeking out his prewar, unamplified work as Robert Lee McCoy (or McCullum) on Bluebird or grabbing a few tracks from some Chess reissues, there hasn't been a lot of Robert Nighthawk in one place. Now there are 14 hard-rocking tracks, cut for United Records in Chicago and showing Nighthawk in his prime and loving it, playing a mean slide underneath some boldly provocative singing that could have given Muddy Waters a run for his money. The style is there, and the voice and the guitar are there, so why didn't Nighthawk hit it big? Based on this collection, his style with an electric guitar just wasn't as distinctive as Waters' playing; additionally, he just didn't have Waters'…

Christmas at the Movies is a dazzling new album of movie music which beautifully captures the holiday spirit. The collection spans almost 80 years offering something special for all the family, from timeless classics The Wizard of Oz, White Christmas and Home Alone through to contemporary Christmas blockbusters Frozen and Elf. Newly recorded arrangements with the Czech Philharmonic Orchestra provide the perfect festive sound-track for essential holiday preparations - decorating the tree, baking mince pies, wrapping the presents and more! Plus one track with multi-million streaming artist and YouTube sensation - The Piano Guys! Relive treasured memories of Christmas movies around the fire, or treat someone special with this perfect present - Christmas at the Movies – it’s the most wonderful time of the year!

New collaborative album from electronic duo The Grid (aka Richard Norris and Dave Ball) and Robert Fripp. Combining Fripp Soundscapes with synth, drums, programming and effects by The Grid.

After Robert's successful debut "Harmonic Ascendant" in 1979, the follow-up "Floating Music" appeared in 1980. An album full of surprises. Here you can hear sounds from self-built synthesizers, or the classic electronic sounds of 1980, as you know them from Klaus Schulze. An exciting album with a deep atmosphere that carries you into bizarre dreamscapes. Occasional weird sounds dissolve into Schroeder-typical sequencer runs, sometimes you think you're walking alone in the dark and see lantern lights streaking past you again and again. Wonderful for dreaming. Floating Music is one of his best albums!

Sixty Six to Timbuktu has to be the icing on the cake for Robert Plant. After Led Zeppelin issued its second live album as well as a spectacular DVD in 2003, his career retrospective outside of the band is the new archetype for how they should be compiled. Containing two discs and 35 cuts, the set is divided with distinction. Disc one contains 16 tracks that cover Plant's post-Zep recording career via cuts from his eight solo albums. Along with the obvious weight of his former band's presence on cuts like "Tall Cool One," "Promised Land," and "Tie Dye on the Highway," there is also the flowering of the influence that Moroccan music in particular and Eastern music in general would have on him in readings of Tim Hardin's "If I Were a Carpenter," Jesse Colin Young's "Darkness, Darkness," and his own "29 Palms." There is also a healthy interest in technology being opened up on cuts from Pictures at Eleven and Now & Zen…

At the same time Brian Eno was working on Here Come the Warm Jets, he was flexing his experimental muscle with this album of tape delay manipulation recorded with Robert Fripp. In a system later to be dubbed Frippertronics, Eno and Fripp set up two reel-to-reel tape decks that would allow audio elements to be added to a continuing tape loop, building up a dense layer of sound that slowly decayed as it turned around and around the deck's playback head. Fripp later soloed on top of this. (No Pussyfooting) represents the duo's initial experiments with this system, a side each. "Heavenly Music Corporation" demonstrates the beauty of the setup, with several guitar and synth elements building on top of each other, the music slowly evolving, and Fripp ending the piece with low dive-bombing feedback that swoops over the soundscape, bringing the piece to its conclusion…