The Rolling Stones Charlie is my Darling – Ireland 1965 Super Deluxe Box Set includes both DVD and Blu-ray discs that incorporate the new, official 2012 version of the film as well as the director’s cut and producer’s cut, plus significant unseen additional performance and other footage shot in Dublin and Belfast in September of 1965, bonus content, two audio CDs, one of which is the film’s soundtrack album and the other a compilation of 13 live recordings the band made over the course of their 1965 UK tour. A 10” vinyl record of the live material is also part of the package, as well as a replica poster heralding the September 4, 1965 date they played in Belfast. The Super Deluxe box is housed in an ingeniously designed luxurious “soft touch” package, each featuring one of over 200 Limited Edition numbered and enlarged cells randomly inserted from the film. There is also a stunning 42 page Collector’s Edition hardcover book that includes 14 never before seen, and painstakingly restored exclusive, photographs, including the key art, of the band from the Irish Photo Archive/Lensmen Photo Archive as well as colour photos taken by Marc Sharatt, the Stones’ tour photographer.

It's about time these early Canned Heat albums were made available once again! Thanks in part to their appearance in the Monterey Pop and later Woodstock festival films, these two albums, especially Boogie With Canned Heat, built Canned Heat's reputation as a top-notch white blues band of the late '60s. The self-titled disc from 1967 features a rough mix of originals and blues standards, including "Catfish Blues," "Rich Woman," and "Big Road Blues." Boogie was released the following year and actually contained a hit single, "On the Road Again." The other tracks on the album, especially "Fried Hockey Boogie" and "Amphetamine Annie," became staples of early FM underground radio. Canned Heat would rarely sound this together as a working unit in the studio again.

None of the Band's previous work gave much of a clue about how they would sound when they released their first album in July 1968. As it was, Music from Big Pink came as a surprise. At first blush, the group seemed to affect the sound of a loose jam session, alternating emphasis on different instruments, while the lead and harmony vocals passed back and forth as if the singers were making up their blend on the spot. In retrospect, especially as the lyrics sank in, the arrangements seemed far more considered and crafted to support a group of songs that took family, faith, and rural life as their subjects and proceeded to imbue their values with uncertainty.

The Band's first album, Music from Big Pink, seemed to come out of nowhere, with its ramshackle musical blend and songs of rural tragedy. The Band, the group's second album, was a more deliberate and even more accomplished effort, partially because the players had become a more cohesive unit, and partially because guitarist Robbie Robertson had taken over the songwriting, writing or co-writing all 12 songs. Though a Canadian, Robertson focused on a series of American archetypes from the union worker in "King Harvest (Has Surely Come)" and the retired sailor in "Rockin' Chair" to, most famously, the Confederate Civil War observer Virgil Cane in "The Night They Drove Old Dixie Down."

September 8, 1960 Oscar Pettiford, American bassist/cellist/composer with unparalleled recognition died abruptly at age 38 due to a virus disease in Copenhagen where he had made his permanent residence. He was one of American jazz players Denmark welcomed in in the 60s and 70s. A few weeks after Pettiford's passing a circle of Danish jazz fans organized a memorial concert presented here to raise funds for his children with a star-studded program that included Stan Getz, Alice Babs, among others.

Miles Davis' concert of February 12, 1964, was divided into two LPs, with all of the ballads put on My Funny Valentine. These five lengthy tracks (specifically, "All of You," "Stella by Starlight," "All Blues," "I Thought About You," and the title cut) put the emphasis on the lyricism of Davis, along with some strong statements from tenor saxophonist George Coleman and freer moments from the young rhythm section of pianist Herbie Hancock, bassist Ron Carter, and drummer Tony Williams. This hour-long LP complements the up-tempo romps of Four & More.

Jazz from The Pacific Northwest combines two previously unissued concert recordings from one of the greatest jazz drummers of all-time, Shelly Manne. The first recording features Monty Budwig on bass, Russ Freeman on piano, Stu Williamson on trumpet, and Herb Geller on flute and alto saxophone recorded at the Monterey Jazz Festival on October 4, 1958. The second recording features Hampton Hawes on piano, Frank Strozier on flute and alto saxophone, Conte Condoli on trumpet and guest vocalist Ruth Price on two tracks recorded at the Penthouse jazz club in Seattle on September 7 and 15, 1966.

First-ever master-tapes reissue of collectable late 60s UK psychedelic/early progressive LP only issued at the time by Elektra in America. Includes previously unreleased songs and alternative mixes from the December 1968 album sessions. After a single for Decca as mod/soul band The Dimples, the Scunthorpe-based Gospel Garden cut a similarly- fashioned 45 for the Camp label before falling under the spell of emerging underground bands like Family and Jethro Tull. Honing their new sound on the burgeoning college circuit, they were signed by visiting Elektra label boss Jac Holzman and given a new identity: Methuselah. With American songwriter Kenny Young as producer, in December 1968 they recorded a quasi-concept album given the title ‘Matthew, Mark, Luke And John’ after the four-part song suite that dominated Side One. But Elektra failed to give the LP a UK release, and the US issue was delayed until October 1969 – by which time the band had split, with John Gladwin and Terry Wincott turning their backs on electricity to work as Amazing Blondel.

Janis Joplin's Greatest Hits is a 1973 collection of hit songs by American singer-songwriter Janis Joplin, who died in 1970. It features live versions of Down on Me and Ball and Chain which were included on the album In Concert the previous year.The cover photo was taken in 1970 in Columbus, Ohio.

If you threw a house party in London in the late twentieth century, before the smart phone rendered it redundant, you could guarantee that the following morning there would be a dog-eared copy of the A to Z behind the sofa, or under the coffee table, probably in a Tesco bag. Everybody had at least one. It was an essential aid in understanding London. It joined the dots and threw up obscure names printed over hitherto unexplored grids of streets: Alperton, Shooters Hill, Honor Oak, Tooting Graveney, Childs Hill, Ladywell. It invited you to create your own personal map of London, discover your own secret routes, your own special places. You could peruse the A to Z with the knowledge of who lived where – Sandy Denny in Wimbledon, before she moved to Muswell Hill which was already legendary as the home of the Kinks. Arterial roads as grisly as Archway Road (Rod Stewart) or Holloway Road (Joe Meek) or could be made magic through their pop connections.

A classic recording by one of Chicago blues' finest living legends, Left My Blues in San Francisco consists of 11 smoking tracks, featuring Buddy Guy's matchless guitar work and equally distinctive vocals. This recording is for people who like their blues straight up; like whiskey, it burns all the way through. Included are some of Guy's classic original songs, such as "She Suits Me to a Tee" and "I Suffer with the Blues," as well as excellent performances of "Buddy's Groove," "Keep It to Yourself," and "Goin' Home." All of this material can also be found on the Complete Chess Studio Recordings collection, but if you're new to Buddy Guy, Left My Blues in San Francisco is an excellent place to start.

Plastic Soho are delighted to present this unique collection of rare live performances and radio sessions of the legendary Bob Dylan. This collection includes live concerts and radio broadcasts including Live at Bonnie Beecher's, The Gaslight Café New York, Carnegie Chapter Hall, New York, as well as other radio sessions. It features 76 tracks recorded between 1960 and 1961 - both live and radio shows.

Opening slowly with the dark, swampy "Born on the Bayou," Bayou Country reveals an assured Creedence Clearwater Revival, a band that has found its voice between their first and second album. It's not just that "Born on the Bayou" announces that CCR has discovered its sound – it reveals the extent of John Fogerty's myth-making. With this song, he sketches out his persona; it makes him sound as if he crawled out of the backwoods of Louisiana instead of being a native San Franciscan. He carries this illusion throughout the record, through the ominous meanderings of "Graveyard Train" through the stoked cover of "Good Golly Miss Molly" to "Keep on Chooglin'," which rides out a southern-fried groove for nearly eight minutes.

Sorcerer, the third album by the second Miles Davis Quintet, is in a sense a transitional album, a quiet, subdued affair that rarely blows hot, choosing to explore cerebral tonal colorings. Even when the tempo picks up, as it does on the title track, there's little of the dense, manic energy on Miles Smiles – this is about subtle shadings, even when the compositions are as memorable as Tony Williams' "Pee Wee" or Herbie Hancock's "Sorcerer." As such, it's a little elusive, since it represents the deepening of the band's music as they choose to explore different territory. The emphasis is as much on complex, interweaving chords and a coolly relaxed sound as it is on sheer improvisation, though each member tears off thoroughly compelling solos. Still, the individual flights aren't placed at the forefront the way they were on the two predecessors – it all merges together, pointing toward the dense soundscapes of Miles' later '60s work.

Recorded at Rick Hall's Muscle Shoals studios, this set embodies the essence of Southern soul – a hybrid of country, R&B and the blues. This long-out-of-print set features the novelty tune "I'd Rather Be An Old Man's Sweetheart (Than A Young One's Fool)" and a killer cover of O.V. Wright's "That's How Strong My Love Is."