“The Let It Be album has been newly mixed by producer Giles Martin and engineer Sam Okell. All the new Let It Be releases feature the new stereo mix of the album as guided by the original "reproduced for disc" version by Phil Spector and sourced directly from the original session and rooftop performance eight-track tapes.”

“Gotta love the audio outtakes from John Lennon in particular in included on this disk...”

This is the album where Jeff recast himself as a jazz/rock player and did so very, very convincingly. It was a huge hit at the time.
George Martin produced and added strings very well and the whole thing works wonderfully well still!

“Blow by Blow typifies Jeff Beck's wonderfully unpredictable career. Released in 1975, Beck's fifth effort as a leader and first instrumental album was a marked departure from its more rock-based predecessors. Only composer/keyboardist Max Middleton returned...

"There and Back, Jeff Beck's first new studio album in four years, found him moving from old keyboard partner Jan Hammer (three tracks) to new one Tony Hymas (five), which turned out to be the difference between competition and support. Hence, the...

The 2nd of the three 'fusion' albums released by Beck in the mid 70s, while in thrall to the Mahavishnu Orchestra, which was a surprising but very satisfying path for a 'rock' guitarist to go down. And he did it with class and style. A classic!

"Released in 1976, Jeff Beck's Wired contains some of the best jazz-rock fusion of the period. Wired is generally more muscular, albeit less-unique than its predecessor, Blow by Blow. Joining keyboardist Max Middleton, drummer Richard Bailey, and producer..

This is a solo synthesizer/keyboard release; the closest to space music as Bedford ever got!

"David Bedford was originally commissioned to write Great Equatorial as part of the celebrations surrounding the renovation of the room containing the Great Equatorial Telescope at Greenwich Observatory, in London. Just ten minutes in length, his initial vision was subsequently expanded into six movements totaling a little over one hour, a vast and sweeping suite that defies ready categorization. The...

"An up-close-and-personal 4-camera document of the Beller band's one-night-only 2010 show at the Baked Potato in Los Angeles, featuring the Wednesday Night Live lineup. Special features include between-song dialogue not present on the CD, additional....

"The Film Scores and Original Orchestral Music of George Martin is a magnificent album. I would characterize this as an essential album. It sounds great. It sounds lush and beautiful and engulfs you into the essence of George Martin's love, knowledge and understanding of the power of music on all levels. This album is a real labor of love. You can feel the warmth and love in the performance of the Berlin Music Ensemble. For me, I made this purchase because of the musical suits for YELLOW SUBMARINE and...

“This 3 disc anthology is excellent. A comprehensive chronological collection of Chuck Berry's hits, B sides and iconic recordings.
Berry is one of the most important musicians in the history of popular music. The hits are awesome, the recordings are rough and raw. You won't find a better collection of Chuck Berry's work.”

"Six years in the making, this is the sixth CD released by ReR from the visual/sonic art group Biota. Unique in their history and method, Biota painstakingly construct complex, organic structures that mix extensive studio processing and musique concréte techniques, with a highly eclectic orchestra of acoustic and electronic resources - from kit drums, through mediaeval winds, strings and barrel organs, to early experimental electronic instruments. Their works are always performance driven and interleaved...

Excellent and TIGHT 10 piece, instrumental Brazilian band who fuse Afrobeat stylings with Brazilian influences to come up with a different spin on a familiar sound.

“São Paulo's acclaimed ten-piece instrumental collective return for their fourth album, Quebra Cabeça. Urban Afro-Brazilian grooves, empowered horn-driven melodicism, and massive dancefloor inspiration. One of South America's most exhilarating musical propositions.
Almost four centuries after the first slave ships loaded their...

“Blanket, as the name suggests, envelop the listener in a comforting quilt of sound, transporting them to dreamy landscapes of sweeping, celestial beauty with a kaleidoscopic symphony of soaring guitars, tinkling piano, warm bass and propulsive drums.
How To Let Go, the quartet’s debut full-length album, takes dexterous ambient textures and amplifies them through a deeply resonant, emotional filter. The album is designed to uplift, enchant and provide a beautiforous escape from an often harsh and...

With John Greaves and Chris Cutler. Follow up to the masterly Just Woke Up, sporting great new songs and guests including B.J.Cole, Geraint Watkins, Adam X, Chris Stamey, Bob Drake, Stoffer Blegvad.

“Described as a "fusion of Lou Reed and Bob Dylan, cross bred with English humorist Jon Hegley", Peter Blegvad has carved out a unique position as performer, songwriter and cartoonist. This is his third solo album on ReR.
The 1996 release "Just Woke Up" was a big critical success; Hangman's...

Paul Bley - piano
Mark Levinson - bass
Barry Altschul - drums

Superb quality radio broadcast of this great trio at a peak. Much better sound than their contemporaneous studio album, Closer!

"Paul Bley Trio, live at the International Jazz Festival, Lugano, Switzerland August 31st, 1966. The young Paul Bley earned his spurs playing with legends including Charles Mingus, Art Blakey, Chet Baker, Jimmy Giuffre, Ornette Coleman, and Bill Evans. As the 1960s progressed, he increasingly.

Annette Peacock - electric bass, synthesizer, electric piano
Paul Bley - electric piano, synthesizer
Han Bennink - percussion

"Recorded Live March 26th, 1971 at Club B14 in Rotterdam, Netherlands, Improvisie is a part of the 1971 trilogy of Paul Bley and Annette Peacock's combined experimental recorded work.
Improvisie is taken from a compelling period for three iconic figures of the free jazz movement, and their pioneering use of the first-ever Moog synthesizers...

A very good relic of a half century ago, finding Steve Winwood in wonderful voice and everyone else in very good to great form. If you want to appreciate this album even more - and also appreciate why it only lasted 6 months - be sure to watch the Ginger Baker documentary "Beware Of Mister Baker"!

"Blind Faith's first and last album, nearly 50 years old and counting, remains one of the jewels of the Eric Clapton, Steve Winwood, and Ginger Baker catalogs, despite the crash-and-burn history of the...

“'Pass Through Here' is a new album from Connecticut folk icon Kath Bloom, her first for five years. It's a distinctive new sound for Kath, uplifted by floating synthesizers and disembodied choruses, while retaining the direct simplicity and power for which she is loved.
Beginning to perform in the late 70's, Kath is renowned for her 80's private-press recordings with avant-garde guitarist Loren Connors, as well as signature tune 'Come Here', from the soundtrack to the Richard Linklater film 'Before..

“A holy grail for 1970’s and 1980’s Metal collectors! If there ever was a band that could be classified as “obscure, underground rock” this is surely one. The only known release on this band is a sole 45 released on Excelsior (the label owned by the late Bill Holford, SR. of ACA Studios in Houston). Mr. Holford would sometimes take a band under his wing and help them, which is what he did with Blown Free.
David Matthews (not that guy) started his career back in the late 1960’s, landing eventually...

"If ever there were a manifesto for 1970s rock, one that prefigured both the decadence of the decade's burgeoning heavy metal and prog rock excesses and the rage of punk rock, "This Ain't the Summer of Love," the opening track from Agents of Fortune, Blue Öyster Cult's fourth album, was it. The irony was that while the cut itself came down firmly on the hard rock side of the fence, most of the rest of the album didn't. Agents of Fortune was co-produced by longtime Cult record boss Sandy Pearlman, Murray...

"Thank the Great Old Ones! After 3 albums of declining quality, Blue Oyster Cult were back in business.
Cultösaurus Erectus is quintessential BÖC, featuring some of their very best work. Black Blade is sci-fi prog rock on the same level of Astronomy with all the guitars back on full blast and one of Eric Bloom's greatest lead vocal performances, especially the equal parts scary and trippy vocoder monlogue at the end. What an achievement, and burning away any lingering doubts after the lackluster...

"Who would have thought that in 1981, after a pair of limp, unfocused studio offerings, and two mixed -- at best -- live outings, that the once mighty Blue Öyster Cult would come back with such a fierce, creative, and uncompromising effort as Fire of Unknown Origin.
Here was their finest moment since Agents of Fortune five years earlier, and one of their finest ever. Bringing back into the fold the faithful team who helped articulate their earlier vision, producer Sandy Pearlman, Richard Meltzer...

"The band's first live album achieved even greater success and went gold; includes the Subhuman; Harvester of Eyes; Hot Rails to Hell; (Then Came the) Last of May; Cities on Flame; Before the Kiss (A Recap); Maserati GT (I Ain't Got You); Born to Be Wild, and more."

"Blue Öyster Cult scored big with Agents of Fortune and its now-classic rock hit, "(Don't Fear) The Reaper." It took the album into the stratosphere and the band's profile with it; it put them in the visible pop space they'd tried for years to get to. But upon arrival, they found that kind of success difficult to respond to. Not only did the Cult want to respond, they wanted to cement their place.
Spectres is not the masterpiece that Agents of Fortune is, but it didn't need to be. However, upon...

"After the breakup of Deep Purple in 1976, guitarist Tommy Bolin wasted little time beginning work on his second solo album, Private Eyes. While it was more of a conventional rock album than its predecessor, Teaser (which served primarily as a showcase for his guitar skills and contained several jazz/rock instrumentals), it was not as potent. The performances aren't as inspired as those on Teaser or even those on Bolin's lone album with Deep Purple, Come Taste the Band, although there a few highlights...

“Instead of being a one-off comeback, 2002's Heathen turned out to be where David Bowie settled into a nice groove for his latter-day career, if 2003's Reality is any indication. Working once again with producer Tony Visconti, Bowie again returns to a sound from the past, yet tweaks it enough to make it seem modern, not retro. Last time around, he concentrated on his early-'70s sound, creating an amalgam of Hunky Dory through Heroes. With Reality, he picks up where he left off, choosing to revise the...

What happens if you cross Clarence Ashley, Jack Rose and Charlemagne Palestine?? Maybe this!

“An American banjo player, drummer, and teacher with one foot in Appalachian folk and the other in minimalist drone. This is a cinematic suite of contemplative, elastic set pieces that conjures the titular Virginian river tribe/extinct county, the second solo album by Nathan Bowles (Black Twig Pickers, Pelt, Sreve Gunn, Hiss Golden Messenger) deploys banjo, percussion, piano, and voice to explore the...