Celebrated Grammy award winner Ray LaMontagne will commemorate the 20th anniversary of the release of his seminal debut album, Trouble, with a special remastered vinyl edition. Additionally, LaMontagne will embark on the Trouble 20th Anniversary Tour, performing the album in its entirety for the first time since its release. On the remastered vinyl, LaMontagne continues, "When Trouble was initially released Vinyl was considered a dead format, never to breathe again. Digital audio was the new King. As we know this has proved untrue. Each year more and more music lovers are listening to vinyl and appreciating it for its depth and breadth of sound, for its physical heft, for its tangible realness."

The second full-length from sacred steel genius Robert Randolph & the Family Band delivers, from the studio, the same promise, grit, grease, and sweat that Live at the Wetlands did. Randolph pulls out the stops in the studio, using his own band, without any of the hotshot guest stars who he's appeared with in the last two years. Unclassified features a road-tested, studio-savvy band using all of its collected gifts with producer Jim Scott to make a record that is as much about soul, funk, hard rock, folk, and jam band intensity as it is about the gospel music that first inspired the unit.

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Celebrated Grammy award winner Ray LaMontagne will commemorate the 20th anniversary of the release of his seminal debut album, Trouble, with a special remastered vinyl edition. Additionally, LaMontagne will embark on the Trouble 20th Anniversary Tour, performing the album in its entirety for the first time since its release. On the remastered vinyl, LaMontagne continues, "When Trouble was initially released Vinyl was considered a dead format, never to breathe again. Digital audio was the new King. As we know this has proved untrue. Each year more and more music lovers are listening to vinyl and appreciating it for its depth and breadth of sound, for its physical heft, for its tangible realness."

The setting by Alphonse D’Eve (1666-1727)‚ born in Brussels and Kapellmeister at the church of Our Lady in Antwerp‚ of the motet for the dead‚ O acerbi‚ is not without its moments. The plangent opening is striking‚ as is the use of high voices at the beginning of the final chorus‚ presumably to represent the heavenly hosts referred to in the text. If the music‚ thoroughly Italianate in style and often reminiscent of Vivaldi‚ is somewhat predictable – the cadences are rather formulaic and the sequential patterns overused – it is certainly worth dusting down: it represents the kind of work that must have been heard in so many of the larger musical institutions all over Europe in the early part of the 18th century.

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