Cox is exactly what she promises to be: a badass rock’n’roll lady who makes her guitar produce sounds that are about to shake the world in a groundbreaking fashion.

Guitarist Pat Metheny had long expressed admiration for Ornette Coleman's music, had recorded his compositions, and had worked extensively with bassist Charlie Haden, so a collaboration was not totally unexpected, though who would have guessed that it would be on the Geffen label? Metheny's almost rock star status has worked against him in other partnerships from time to time (notably, his overbearing playing on his project with Derek Bailey, The Sign of 4), but here he happily sublimates his showier instincts and works as sympathetic co-leader, deferring to Coleman's experience and genius.

The mid-to-late Sixties was a strange and difficult time for many Blues men - most were without contracts, forgotten and under-appreciated. Then the Blues boom happened (particularly in the UK) and many had their careers kick-started all over again. Freddie King was no exception. His last album had been for Federal in 1964, but with a new lease of life on the mighty Atlantic label, he produced two much revered LPs in rapid succession. The first was "Freddie King Is A Blues Master" released in 1969 on SD 9004 - and then this peach - "My Feeling For The Blues" on Cotillion SD 9016 released in early 1970.

Royal Rhymes and Rounds is the King's Singers' contribution to the 60th anniversary of Queen Elizabeth II's accession to the throne in 2012. There are ballads, part songs, madrigals, rounds, and anthems written during the reigns of (and some also in honor of) Henry VIII, Elizabeth I, Victoria, and Elizabeth II. The music from the times of Henry and Elizabeth I is especially strong since it was the era of a flowering of English song, which then lay relatively dormant for several centuries. The composers include such luminaries as William Cornysh, Orlando Gibbons, John Dowland, and Thomas Weelkes, as well as Henry himself, whose rousing ballad Pastime with good companie opens the album. It's in this transparent repertoire that the group sounds its absolute best. The singers' immaculate intonation, focused tone quality, and sensitive musicianship are remarkable.

There’s no sign of any let up in Neil Young’s current reissue/release productivity, with the announcement of three new albums in his ‘Official Bootleg Series’. These are Royce Hall, 1971, a solo acoustic gig which was recorded on 30 January of that year on the UCLA (University of California) campus; Dorothy Chandler Pavilion, 1971, another solo acoustic performance and the last US show of his 1971 solo tour; and, perhaps most excitingly, Citizen Kane Jr. Blues (Live at The Bottom Line), an On The Beach-heavy set from New York City, 1974.

There’s no sign of any let up in Neil Young’s current reissue/release productivity, with the announcement of three new albums in his ‘Official Bootleg Series’. These are Royce Hall, 1971, a solo acoustic gig which was recorded on 30 January of that year on the UCLA (University of California) campus; Dorothy Chandler Pavilion, 1971, another solo acoustic performance and the last US show of his 1971 solo tour; and, perhaps most excitingly, Citizen Kane Jr. Blues (Live at The Bottom Line), an On The Beach-heavy set from New York City, 1974.

The magnificent series of recordings Dinu Lipatti made for Columbia in 1947-8 needs no introduction. They contain some of the most highly regarded performances ever committed to album and have remained in the catalogue almost continuously since their first issue on 78s. What makes the current set unique is the inclusion of five test albums made with the cellist Antonio Janigro, only two of which have appeared previously, and new masterings which reveal more of the original recordings than before. For the 1947 London recordings (originally released in 1999) APR had access to vinyl pressings from the original 78rpm masters and these have been further enhanced. For the newly transferred 1948 sessions, the original 78s were used rather that the subsequent LP issue (itself derived from the 78rpm masters) which appears to have been used in all other transfers. These turned out to have a much brighter sound and more ambience than the rather dull and filtered LP. We strongly believe the Schumann Concerto has never sounded so good!