Entitled McCartney II because its one-man band approach mirrors that of his first solo album, Paul McCartney's first record since the breakup of Wings was greeted upon its release as a return to form, especially since its synth-heavy arrangements seemed to represent his acceptance of new wave. In retrospect, the record is muddled and confused, nowhere more so than on the frazzled sequencing of "Temporary Secretary," where McCartney spits out ridiculous lyrics with a self-consciously atonal melody over gurgling synths. Things rarely get worse than that, and occasionally, as in the effortless hooks of "Coming Up," the record is quite enjoyable. Nevertheless, the majority of McCartney II is forced, and its lack of memorable melodies is accentuated by the stiff electronics, which were not innovative at the time and are even more awkward in the present…

Sonny's Story is an excellent showcase for Sonny Terry's talents, which sometimes went unheralded because they largely were showcased in the shadow of Brownie McGhee. Here, Terry is largely playing solo acoustic, with J.C. Burris joining in for harmonica duets every so often; Sticks McGhee and drummer Belton Evans also play on a few cuts. Unlike some solo acoustic blues albums, Sonny's Story is positively infectious. It's hard not to get caught up in Terry's shouts and boogies, and that's one major reason why this is among his best solo recordings.

Yusuf/Cat Stevens has announced a definitive and first ever career-spanning collection. On the Road to Findout: Greatest Hits presents highlights from a nearly 60-year recording career with songs from his debut 1967 LP, Matthew & Son, through to his 2023 King Of A Land album. The collection features timeless tracks like “Where Do The Children Play?,” “Wild World,” “Moonshadow,” “The Hurt,” and “Father And Son.”

Monk's Music is often cited as one of the focal points of Thelonious Monk's six-year affiliation (1955-1961) with the Riverside label. Although the original disc clocked in at slightly over 30 minutes, packed into that half hour are not only the introduction of a few of Monk's signature compositions, but also some amazing interactions from the assembled ensemble. Joining Thelonious Monk (piano) during these two recording sessions are Ray Copeland (trumpet), Gigi Gryce (alto sax), Coleman Hawkins (tenor sax), John Coltrane (tenor sax), Wilbur Ware (bass), and Art Blakey (drums). The true meaning of the album's title exists beyond just Thelonious, as the opening sacred prelude, "Abide With Me," was written by William H. Monk. This brief piece features only the horn quartet, foreshadowing their importance throughout the album…

Esoteric Recordings is pleased to release classic 1975 album by Dutch Progressive Rock group Earth & Fire, To the World of the Future. Featuring charismatic vocalist Jerney Kaagman (one of the few female vocalists in 70s Prog Rock), Earth & Fire was one of the finest bands to emerge from Holland in the early 1970s. Scoring a series of international hits, by 1975 the band had begun to adopt the use of synthesisers alongside the Mellotron in their music. One of their final concept albums, To The World of the Future was Dutch hit upon its release in April 1975. This Esoteric Recordings reissue is newly re-mastered and fully restores the original album artwork. This edition also includes five bonus tracks taken from the band’s singles released between June 1974 and February 1976.

After taking time out to tour in 1997, Toby Marks moved from the UK Midlands to Somerset, in southwest England to set up a new studio. After recording the new CD, he then decided to set up his own label in England, Disco Gecko Recordings. The Magical Sounds of Banco de Gaia travels freely between the violins and cellos of Glove Puppet and the Kenyan rain song that forms the basis of the next piece, No Rain. So maybe it’s world music, or global trance; but it’s not intentional.

Tennant and Lowe of Pet Shop Boys’ celebrated score, remastered and released on vinyl for the first time by Parlophone Records to mark the centenary of Sergei Eisenstein’s legendary silent film Battleship Potemkin.

Sabine Meyer, surrounded for the occasion by the other members of Trio di Clarone (her brother Wolfgang Meyer and her husband Reiner Wehle) and Michael Riessler, explores the enduring fascination that Bach and his infinite mastership of counterpoint have exerted on generations of musicians. They include Mozart, whose Preludes and Fugues for trio are based on compositions by Bach, Carl Philipp Emmanuel in a ravishing duet, a fugue by Clara Schumann… and, of course, works by Bach himself transcribed by leading contemporary composers such as Harrison Birtwistle and Helmut Lachenmann. Michael Riessler, who comes from a jazz background, is also a seasoned composer, and his witty works serve as the common thread running through this bewildering and stimulating album.