Back in 1964, saxophonist Stan Getz made one of those perfect albums. He teamed up with famed Brazilian songwriters and guitarists, Joao Gilberto and Antonio Carlos Jobim, and delivered one of the best records in his career: Gezt/Gilberto (Verve, 1964). The combination of the wistfully vibrant bossa nova and the sensual saxophone sound of Getz proved to be irresistible. History has a way of repeating itself and now it is time for yet another crucial meeting between a group of Brazilian musicians and an American saxophonist. Harry Allen could be considered one of the most prominent heirs to the sound of Getz, so it was only a matter of time before he would find the ideal partner to make an album with a perfect Brazilian sound. In fact, his partner found him. In the elaborate notes to the album Something About Jobim, producer and bassist, Rodolfo Stroeter, tells the story of the album. When his good friend, record producer Søren Friis of Stunt Records, gave him a bunch of records to listen to, one of them especially caught his attention.

Import-only five CD set from the Alt-Rock trio contains a quintet of their original non-remastered albums packaged in replica cardboard sleeves. Box set includes: "Violent Femmes" (1983); "Hallowed Ground" (1984); "The Blind Leading the Naked" (1986); "3" (1989); "Why Do Birds Sing?" (1991).

The Very Best of Adam And The Ants is a greatest hits compilation album. It includes songs from Adam and the Ants & Adam Ant's solo works, with all their hits and pop faves, like "Stand & Deliver", "Dog Eat Dog", "Prince Charming", "Goody Two Shoes", "Puss N Boots", "Friend Or Foe" and many more. 22 tracks.

Live in San Francisco is a collaborative live album by Ry Cooder and Corridos Famosos released in September 2013 by Nonesuch Records and Perro Verde. The album was recorded in 2011 at the Great American Music Hall in San Francisco, California. Cooder produced Live in San Francisco and recorded with members of Corridos Famosos, which included vocalists Juliette Commagere, Terry Evans, and Arnold McCuller, Joachim Cooder on drums, Robert Francis on bass, Flaco Jiménez on accordion, and the ten-piece Mexican brass band La Banda Juvenil. It was his first live album since Show Time (1977), which Cooder also recorded at the Great American Music Hall with Jiménez and Evans.

"Rosie" is the eighth studio album by folk-rock outfit Fairport Convention, released in 1973. The album was the first to feature Australian singer-songwriter guitarist Trevor Lucas and American lead guitarist Jerry Donahue. Both had previously played with ex-Fairport Sandy Denny, to whom Lucas was married, in the short-lived Fotheringay. Here they had effectively replaced Simon Nicol who had quit Fairport to join another ex-member Ashley Hutchings in The Albion Band, thus leaving the band with no original members until he rejoined in 1976. Remastered reissue includes previously unreleased bonus tracks, 'Matthew, Mark, Luke, & John' (Live), 'The Hen's March Through the Midden…' (Live), 'Rosie' (Live), & 'The Claw' (Live).

The Doobie Brothers' third long-player was the charm, their most substantial and consistent album to date, and one that rode the charts for a year. It was also a study in contrasts, Tom Johnston's harder-edged, bolder rocking numbers balanced by Patrick Simmons' more laid-back country-rock ballad style. The leadoff track, Johnston's "Natural Thing," melded the two, opening with interlocking guitars and showcasing the band's exquisite soaring harmonies around a beautiful melody, all wrapped up in a midtempo beat – the result was somewhere midway between Allman Brothers-style virtuosity and Eagles/Crosby & Nash-type lyricism, which defined this period in the Doobies' history and gave them a well-deserved lock on the top of the charts. Next up was the punchy, catchy "Long Train Runnin'," a piece they'd been playing for years as an instrumental – a reluctant Johnston was persuaded by producer Ted Templeman to write lyrics to it and record the song, and the resulting track became the group's next hit.

Lay Your Burden Down is a studio album by Buckwheat Zydeco, released in 2009 through Alligator Records. The album ranked number five on Billboards Top Blues Albums. In 2010, the album earned Buckwheat Zydeco the Grammy Award for Best Zydeco or Cajun Music Album.

"America's First Lady of Roots Music", Maria Muldaur, returns to her original roots - Jug Band Music! Maria first recorded in the early 60's with both The Even Dozen and The Jim Kweskin Jug Bands. Here she has reunited with several of her former jug band mates and recorded many tunes from the classic jug band era (early 30's), as well as two hilarious newly penned gems by Dan Hicks. Special guests include John Sebastian, David Grisman, Taj Mahal, Dan Hicks, Fritz Richmond and sensational discovery Kit Stovepipe.

Since their first encounter in May 2011, Lavinia Meijer has worked with some frequency with Philip Glass, even though he has never written solo works specifically for the harp. However, many of his piano works and piano transcriptions, after minor adjustments, prove to be well suited to the modern pedal harp. Initially, Lavinia Meijer added Glass's five movement Metamorphosis to her repertoire, on the instigation of the undersigned, the Amsterdam gallery owner Robert Malasch and the American composer himself. After a first and successful performance (in the composer's presence) in the Amsterdam 'pop temple' The Melkweg, a first official recording was made for Channel Classics in June 2011 in the Dutch town of Schiedam. Since this recording was exclusively intended for a brief national marketing campaign, it has now been followed up by this complete Glass CD for international distribution. Lavinia Meijer is recognized worldwide as one of the most successful rising stars. Besides performing the standard harp repertoire Lavinia Meijer is very keen on playing modern music.

The Legendary A&M Sessions is an extended play featuring five songs by Captain Beefheart & His Magic Band, recorded early in their career for their original record label A&M Records. The EP was released by the company in 1984 after Captain Beefheart had gone into retirement. The EP is compiled from two singles originally released through A&M in 1966. The first of these paired the Bo Diddley cover "Diddy Wah Diddy" with a track written by Don Van Vliet (Beefheart) called "Who Do You Think You're Fooling?"

James Taylor's seventh album and last new recording for Warner Bros. is notable for producing his biggest self-written hit in four years, "Shower the People" (number 22 pop, number one easy listening). Bobby Womack's "Woman's Gotta Have It" was the album's only cover, and elsewhere Taylor took on a surprisingly rough set of issues in his typically gentle style, including "A Junkie's Lament" and "Money Machine." There were also reflections on being a "Family Man" even if, due to his peripatetic touring life, "Daddy's All Gone." Guest stars included Art Garfunkel, who harmonized on "Captain Jim's Drunken Dream," and Stevie Wonder, who co-wrote and played harmonica on "Don't Be Sad 'Cause Your Sun Is Down." On the whole, a respectable effort for an artist who was evolving into more of a craftsman than a virtuoso.

Due to her youth (16 when she first hit Myspace, 17 when signed to an imprint of EMI, and 18 when her debut album came out), perky-cute looks and extremely British diction, singer/songwriter Laura Marling got a lot of comparisons to Lily Allen in her early buzz, but the quietly compelling Alas I Cannot Swim is not at all a frothy pop confection. A folk-tinged AAA pop record based on Marling's alluringly husky voice and graceful acoustic guitar, Alas I Cannot Swim would be more aptly compared to the likes of Feist, Keren Ann, or Regina Spektor. (In the album's press kit, Marling reveals her primary influence to be Bonnie "Prince" Billy, which also seems appropriate.) Although not to draw too forbidding a comparison, opening track and first single "Ghosts" is most strongly reminiscent of Joni Mitchell circa For the Roses, both in Marling's expressive vocal phrasing and the expert shifts in the arrangement between solo acoustic passages and full-band sections, not to mention an excellently deployed string section. That old-school '70s singer/songwriter vibe predominates throughout the album, in fact.

Besides being noteworthy as an astonishingly good all-covers album, Kicking Against the Pricks is notable for the arrival of a new key member for the Seeds, drummer Thomas Wydler. Besides being a fine percussionist, able to perform at both the explosive and restrained levels Cave requires, Wydler also allowed Harvey to concentrate on adding guitar and keyboards live as well as in the studio, a notable bonus. Race reappears briefly to add some guitar while former Birthday Party cohorts Rowland Howard and Tracy Pew guest as well, the latter on some of his last tracks before his untimely death. The selection of songs is quite impressive, ranging from old standards like "Long Black Veil" to everything from John Lee Hooker's "I'm Gonna Kill That Woman" and Gene Pitney's pop aria "Something's Gotten Hold of My Heart." Matching the range of material, the Seeds are well on their way to becoming the rock/cabaret/blues showband of Cave's dreams, able to conjure up haunting, winsome atmospheres ("Sleeping Annaleah") as much as higher-volume takes (Roy Orbison's "Running Scared," the Velvet Underground's "All Tomorrow's Parties").

This generously programmed disc provides excellent value and outstanding performances of both major and lesser-known masterpieces of French choral music. The Fauré Requiem has been recorded many times, and several excellent versions of the original orchestration are available on disc. This one is among them, owing to John Eliot Gardiner's experience and perfectionist mastery of details overlooked by less-successful choral conductors. The real bonus here is the inclusion of the popular but very difficult Debussy and Ravel chansons, and the rarely heard but eminently worthy little part songs by Saint-Saëns. These pieces are a lesson in how to achieve maximum effect with the simplest materials.

Digitally remastered two CD set containing a pair of albums from the Jazz/Rock outfit: Mirror Image (1974) and New City (1975). Mirror Image was released in the wake of vocalist David Clayton-Thomas' departure and features three different vocalists. New City saw Clayton-Thomas return full-time for a critically-acclaimed album. Both releases made the U.S. Top 200 Albums chart.