Nonesuch will release Jonny Greenwood's Golden Globe–nominated score to Paul Thomas Anderson's new feature film, Phantom Thread.

Julie Erikssen is the magnificent aplomb of the one who knows and the subtle lightness of the one who doubts. It's a five-year preamble before unveiling his music: an elegant sound, jazz & folk influences, stringed musicians and a bright, frank voice. "Out of chaos", his new album, this soft wood and polite in which flows the sap of what makes Julie's essence. Come and have a look in his cosmos. Julie Erikssen is an artist whose grace is with unlimited and powerful vocal technic. Always surrounded by musicians among the best, she also comps herself on the piano and on the guitar. She's also an amazing songwriter. 12 original songs with poetic, brightful, and aerial musical universe.

Hammond B-3 organ legend Dr. Lonnie Smith has announced a January 12 release for All in My Mind, a spirited live trio album that the NEA Jazz Master recorded during his 75th birthday celebration at the Jazz Standard in New York City this past summer. The album is the follow-up to his acclaimed 2016 release Evolution, which marked Smith’s return to Blue Note Records where he first made a name for himself with a run of classic soul jazz albums between 1968-70.

Encore was produced by Grammy Award-winning producer Dave Cobb and recorded at Nashville's historic RCA Studio along with additional production at House of Blues and Farmland Studio. The album features eleven songs, including "All On My Mind" (written by Ed Sheeran, Johnny McDaid, East and Aaron Raitiere), "King For A Day" (written by East, Chris Stapleton and Morgane Stapleton), "Girlfriend" (written by East, Cobb, Raitiere and Tim Bergling) as well as renditions of songs by Ted Hawkins and Willie Nelson. The release of Encore culminates a breakout series of years for East following his widely praised debut album, Delilah, which NPR Music called "an eclectic, fully formed debut."

Umphrey’s McGee entered I.V. Labs Studio in Chicago in November of 2016 to record what would become the band’s eleventh full-length studio album. The result was it’s not us, the most vibrant, mature expression of the band’s growing studio prowess to date. “We decided to go in for a week, live, eat, and breathe Umphrey’s McGee,” recalls Joel, “we’re known as a strong live band, but we take so much pride in our writing. [In this album] the focus is on that writing.”

For a select few, rock'n'roll is a life sentence. It's in every muscle in your body, it's in every thought you have, it's written all over your face. When you arrive at Black Rebel Motorcycle Club's headquarters in East Hollywood, you know you're sidling up to the home of some of rock's most primal prisoners. In the driveway there are motorcycles. In the living room there is gear splayed everywhere; random bits of drum kits, a pedal steel guitar, stacks of vinyl. Answering the door is a bleary-eyed, chain-smoking Peter Hayes (guitar, vocals) and his co-habiting bandmate Leah Shapiro (drums).

Neil Diamond, in the opinion of many critics and fans, went into an artistic decline in the mid- to late- '70s. It turns out that he still had a number of good songs left in him, though, and the inconsistency of his later efforts should be viewed in context.

I heard "La Gare de Troyes" was a minor piece in Ange's career. Well I was wrong: maybe this is not a marterpiece, but it seems to me it is a very good work. Not only music is varied and well written, melodic but never too sweet, but the lyrics are intriguing, based on a concept by Christian Decamps about an employee's life and dreams. Finally, this in in my opinion a recommended album and not only for progressive rock fans.

From the opening funk of “Juicy Lucy” to Knight’s closing urge that “Everyone get up and dance that’s what you came here for”, this album ticks a whole lot of boxes with great writing, playing, arrangements and production that benefits from a band recording live in the studio with a mix of vintage and new equipment and techniques a fantastic first studio album from Secret Stash, who already have some impressive reissues for sale. And with the promise of more good stuff to come, The Lakers essentially in place as the house band are already working on the next album project definitely one to watch out for.

Released at the dawn of the 1980s, „September Morn“ is very much an update of Neil Diamond's 1960s roots, with a (perhaps ill-advised) disco version of the Motown classic "Dancing in the Street" and a remake of his own "I'm a Believer," heard here complete with faux-reggae rhythm and synthesized steel drums. The album also looks to the past in cuts like producer Bob Gaudio's timeless "The Sun Ain't Gonna Shine Anymore" and the vintage blues song "Stagger Lee." But Diamond shows he's still a master of sentimental balladry in his delivery of songs like the title track and "The Shelter of Your Arms," with an almost chanson-like delivery that blends classic Tin Pan Alley schmaltz with French-style romance.

Just as Blondie's second album, Plastic Letters, was a pale imitation of their self-titled debut, Eat to the Beat, their fourth album, was a secondhand version of their breakthrough third album, Parallel Lines: one step forward, half a step back.

A New Orleans funk and soul ensemble who enjoyed moderate success in the mid-'70s, Chocolate Milk recorded for RCA from 1975 to 1983. Their roster included lead vocalist Frank Richard, saxophonist Amandee Castenell, trumpeter Joe Foxx, keyboardist Robert Dabon, guitarist Mario Tio, and drummer Dwight Richards. Their best songs were up-tempo and/or light dance/novelty numbers such as "Action Speaks Louder Than Words" in 1975, "Girl Callin" in 1978, and "Blue Jeans" in 1981. All were Top 20 R&B hits; they also tried ballads and heartache tunes, but Richard wasn't as confident or effective on those. The self-titled album, released in 1977, can now be listened to in an expanded edition in excellent quality.

Digitally remastered and expanded edition. With influences ranging from the Meters to Kool & the Gang, New Orleans' Chocolate Milk let the funk flow on their self-titled sophomore album of 1976. No in-depth discussion of the history of African-American music would be complete without some mention of New Orleans, which was not only the birthplace of jazz, it was also an important city for soul, funk, zydeco and the blues.

A virtuoso harpsichordist and organist, it is remarkable that J.S. Bach composed only one original work for keyboard and orchestra. The fifth Brandenburg Concerto, with its huge sixty-five bar cadenza in the first movement, created the blueprint for all piano concertos that followed. However, Bach the great arranger mined his other concertos to create seven more keyboard works (No.6, omitted here, is for keyboard, flutes and strings).

Bibi Tanga's brand of Afro-Pop-Futurist-Funk is a melting pot of styles that bridge a musical gap between Africa and France. The son of a diplomat from Central African Republic, he moved to France at the age of ten and has lived in four different countries. His smart, slick and groovy blend of styles fuses together languages and cultures with socially conscious lyrics in English, French as well as Central African Republic's official language, Sango. On his latest album, Now, Tanga has forged a new musical identity in which rhythms of his homeland are melded with English new wave and two-tone and particularly American funk to achieve a unique and uncategorisable sound.