The soundtrack to Robert Wise’s film version of Rodgers & Hammerstein’s The Sound of Music is being reissued across multiple formats, with a super deluxe edition offering “every musical element” from the film and a Dolby Atmos Mix.
The musical features classics such as as ‘My Favourite Things’, ‘Do-Re-Mi’, ‘The Sound of Music’ and ‘Edelweiss’ and Robert Wise walked away with Best Picture and Best Director Oscars (being director and co-producer) at the 1966 Academy Awards.
The new reissue is led by a 4CD+blu-ray super deluxe which features over 40 previously unreleased tracks, including 11 never-before-heard alternate takes and instrumentals of each song for that singalong-a-Sound-of-Music experience. The blu-rays capacity allows it to deliver the full score in hi-res stereo audio and well as a Dolby Atmos Mix of the 16-track original soundtrack.

A companion to 2016's private country rock overview Cosmic American Music, this second volume goes way past Gram Parsons' “country-rock plastic dry-fuck” and explores the twangy falsettos and commercial curiosity that sent the Eagles soaring. Though rooted in the west coast folk rock of the late-’60s, these new kids in town rendered a safe-for-the-suburbs sound bleached of the hippie era's political strife. 20 tracks, two LPs, and gatefold tip-on sleeve for easy seed and stem separating are included.

The newly released "Tea for Two: British Artists Play American Standards" is a compilation album that showcases 25 tracks of classic American standards performed by British artists. It includes well-known songs like “Love for Sale,” “I've Got You Under My Skin,” “Smoke Gets in Your Eyes,” and the title track "Tea for Two." Performers range from notable orchestras like The Laurie Johnson Orchestra to individual artists such as Lita Roza and Joe Henderson.

Love broadened their scope into psychedelia on their sophomore effort, Arthur Lee's achingly melodic songwriting gifts reaching full flower. The six songs that comprised the first side of this album when it was first issued are a truly classic body of work, highlighted by the atomic blast of pre-punk rock "Seven & Seven Is" (their only hit single), the manic jazz tempos of "Stephanie Knows Who", and the enchanting "She Comes in Colors", perhaps Lee's best composition (and reportedly the inspiration for the Rolling Stones' "She's a Rainbow"). It's only half a great album, though; the seventh and final track, "Revelation", is a tedious 19-minute jam that keeps Da Capo from attaining truly classic status.

Not many European-born musicians have been admitted to the select inner circle of jazz innovators. One of them, of course, is the Belgian Jean Toots Thielemans. His amazing capacity to coax real music from a harmonica made of him a true virtuoso. And, as a guitarist, Toots also proved to be more than proficient at playing simple and eloquent, as we can appreciate in this charming program of nice music carried forth with taste, creativity and restrain.

Sailor is the second studio album by American rock group The Steve Miller Band, released in October 1968 by Capitol Records. Like The Steve Miller Band's previous album, Children of the Future, Sailor was produced by Glyn Johns. Unlike its predecessor which was recorded in London, England, Sailor was recorded in Los Angeles, California. It was the last Steve Miller Band album to feature contributions by original members Boz Scaggs and Jim Peterman. Scaggs went on to a successful solo career. The album features a psychedelic blues rock sound.

When "Polk Salad Annie" blared from transistor radio speakers in the summer of 1969, the first thought was of Creedence Clearwater Revival, for Tony Joe White's swamp rock bore more than a passing resemblance to the sound John Fogerty whipped up on Bayou Country and Green River. But White was the real thing – he really was from the bayou country of Louisiana, while Fogerty's bayou country was conjured up in Berkeley, CA. Plus, White had a mellow baritone voice that sounded like it had been dredged up from the bottom of the Delta. Besides "Annie," side one of this album includes several other White originals. The best of these are "Willie and Laura Mae Jones," a song about race relations with an arrangement similar to "Ballad of Billie Joe," and "Soul Francisco," a short piece of funky fluff that had been a big hit in Europe in 1968. "Aspen, Colorado" presages the later "Rainy Night in Georgia," a White composition popularized by Brook Benton. The second side consists of covers of contemporary hits, with the funky "Who's Making Love" and "Scratch My Back" faring better than the slow stuff.

Psych', a newly compiled 64 song 3CD set celebrating an extraordinary era in British Pop and Rock music that saw an expansion of musical styles that heralded Psychedelia and the arrival of Prog (or Progressive) Rock. It coincided with the launch of the eclectic, occasionally esoteric but always interesting Deram label - the music press of the day described it as a 'hip label for groovy people'. Includes esteemed artists such as Genesis, The Moody Blues and Caravan alongside hidden gems within the catalogue.

Digitally remastered reissue combines two domestically out-of-print albums together on one CD, 'Make It Happen' (1967) & 'Special Occasion' (1968). Packaged in a full color outer slipcase with original sleeve artwork.

In the mid-20th century, Louisville gospel music was occasionally recorded when members of the local gospel community pressed 45rpm records and LPs, and released them through grassroots record labels such as Sensational Sounds, Grace, Blessed, and D.J.S. Over the years, a substantial body of work was produced in our city, but those recordings are in danger of being lost forever.The Louisville Story Program has been working with dozens of people in the local gospel music community to locate, digitize, and preserve hundreds of these recordings and to develop a book that documents and honors the legacies of the people and communities that produced them.For decades, the passion, hard work, and support of countless people across dozens of Black church communities in Louisville have nurtured and sustained a rich gospel music ecosystem. This music has served as a central part of people's religious practice and as an expression of Black pride, joy, affirmation, love, dignity, determination, and hope. This legacy continues to this day.

INTEGRAL JIMMY SMITH 1957 - 1962 (Remastered Version) is a comprehensive collection of Jimmy Smith’s works from this highly influential period in jazz. Released in 2024, it includes 93 tracks that showcase Smith’s pioneering mastery of the Hammond B-3 organ, blending jazz, blues, and soul. This remastered version brings renewed clarity to his collaborations with notable musicians such as Kenny Burrell and Art Blakey. It features classics like "The Sermon!" and "Back at the Chicken Shack"​.

Although Live & Well wasn't a landmark album in the sense of Live at the Regal, it was a significant commercial breakthrough for King, as it was the first of his LPs to enter the Top 100. That may have been because recognition from rock stars such as Eric Clapton had finally boosted his exposure to the White pop audience, but it was a worthy recording on its own merits, divided evenly between live and studio material. King's always recorded well as a live act, and it's the concert tracks that shine brightest, although the studio ones (cut with assistance from studio musicians like Al Kooper and Hugh McCracken) aren't bad.

No frills on the final Excello blues sessions of the late 60s and early 70s aimed at the Southern Blues audience, but here for hippies, yuppies and anyone with the ears to hear the heart & soul of the real blues. Although Excello Records is famous for its swamp pop sound, a good part of which was due to Jay Miller's production approach that favored a deadened, muffled drum sound and tons of delay and reverb, by the late '60s and early '70s the label was struggling to grab hold of its share of the Southern soul market, and the sound of the label's singles became much slicker, sharper, and more funk-driven. Excello never really abandoned the blues, but the studio started to give the genre some fancier clothes, as this interesting collection of late-era singles recorded between 1966 and 1974 clearly shows. Slim Harpo's "I'm So Sorry" from 1968 and his cover of John Lee Hooker's "Boogie Chillun" from 1970 are cases in point. Both singles are far more professional sounding than his earlier output, and decidedly less swampy in feel. Better production and clearer sound didn't translate into more sales, however, and these tracks are some of the last gasps of the famed Excello catalog. Worth noting are two fine 1970 cuts from Otis Spann, the atmospheric and off-kilter "Bloody Murder" and the sharp-edged title track, "Blues for Hippies," where Spann sings about meeting Daniel in the metaphoric (one assumes, anyway) Lion's Den.

A1 for electronic sounds and voices, 1969. A2 music for multi-piano, orchestra and electronic sounds, 1968. B1 for electronic sounds and Japanese traditional instruments, 1968. B2 for electronic sounds, 1968.

This 2 CD set looks at the beginnings of country rock in the late 60s and follows it through the heady days of the 70s. Includes tracks both classic and rare from a stunning array of artists, including Gram Parsons, the Byrds, Emmylou Harris, Bob Dylan, David Crosby, Michael Nesmith and many more.