Total Electric Guitar

After the Rain dates from the most controversial period in Muddy Waters' history - along with its predecessors, Electric Mud (probably the most critically despised album in Muddy's catalog) and Brass and the Blues (an effort to turn him into B.B. King), it came out of an era in which Chess Records was desperately thrashing around trying any musical gambit to boost the sales of its top blues stars. But unlike Electric Mud, in which the repertoire selected by producer Marshall Chess was mostly unsuited, and the musical settings provided by Phil Upchurch, Pete Cosey et al. were too loud and too frenetic for Muddy's style of singing, After the Rain simply let him be Muddy Waters. The album mostly featured higher-wattage remakes of a lot of familiar repertoire, including "Honey Bee" and "Rollin' and Tumblin'," and also reintroduced Muddy's own electric guitar, which had mostly been unheard on his recordings of the 1960s…

After the Rain dates from the most controversial period in Muddy Waters' history - along with its predecessors, Electric Mud (probably the most critically despised album in Muddy's catalog) and Brass and the Blues (an effort to turn him into B.B. King), it came out of an era in which Chess Records was desperately thrashing around trying any musical gambit to boost the sales of its top blues stars. But unlike Electric Mud, in which the repertoire selected by producer Marshall Chess was mostly unsuited, and the musical settings provided by Phil Upchurch, Pete Cosey et al. were too loud and too frenetic for Muddy's style of singing, After the Rain simply let him be Muddy Waters. The album mostly featured higher-wattage remakes of a lot of familiar repertoire, including "Honey Bee" and "Rollin' and Tumblin'," and also reintroduced Muddy's own electric guitar, which had mostly been unheard on his recordings of the 1960s…

After the Rain dates from the most controversial period in Muddy Waters' history - along with its predecessors, Electric Mud (probably the most critically despised album in Muddy's catalog) and Brass and the Blues (an effort to turn him into B.B. King), it came out of an era in which Chess Records was desperately thrashing around trying any musical gambit to boost the sales of its top blues stars. But unlike Electric Mud, in which the repertoire selected by producer Marshall Chess was mostly unsuited, and the musical settings provided by Phil Upchurch, Pete Cosey et al. were too loud and too frenetic for Muddy's style of singing, After the Rain simply let him be Muddy Waters. The album mostly featured higher-wattage remakes of a lot of familiar repertoire, including "Honey Bee" and "Rollin' and Tumblin'," and also reintroduced Muddy's own electric guitar, which had mostly been unheard on his recordings of the 1960s…

Sean Shibe's second PENTATONE album Lost & Found is an ecstatic journey containing music by outsiders, mystics, visionaries, who often have more than one identity and lay claim to various artistic traditions, genres, or audiences. The repertoire ranges from Hildegard von Bingen to Olivier Messiaen, Moondog, Julius Eastman, Bill Evans, Chick Corea, Meredith Monk, Shiva Feshareki, Oliver Leith and Daniel Kidane. Stretching ten centuries, these pieces are bound together by Shibe's unique electric guitar sound and aesthetic. Multi-award-winning guitarist Sean Shibe brings a fresh and innovative approach to the traditional classical guitar, while also exploring contemporary music and repertoire for electric guitar. He continues his exclusive collaboration with PENTATONE after his well-received label debut Camino (2021).