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Soulful songs and rock 'n' roll attitude - a sharp contrast to the sterility of today's country music. Include classic hits, such as The Ride and Mona Lisa's Lost Her Smile, as well as a duet with George Jones. Every CD has previously unissued bonus tracks. Essential listening for everyone who loves Waylon, Willie, and the '70s outlaws.And now we continue our ongoing exploration of the unjustly overlooked David Allan Coe catalog. A life-long renegade, Coe has been one of the most colorful and unpredictable characters in country music? or any music. An outlaw pioneer, he didn't score many big hits, although he wrote several big hits for others? including Would You Lay With Me In A Field Of Stone and Take This Job And Shove It. He was also incredibly prolific: during thirteen years with Columbia Records, he released almost two LPs a year. Here, we focus on the years 1982-1985.'Castles In The Sand' and 'Hello In There' come from 1983. Critics agree that 'Castles In The Sand' is one of the era's most underrated LPs - and one of the most haunted and strange. Coe wrote just three songs on the album, and co-wrote another. The title track is an autobiographical tribute to Bob Dylan as one of the two most misunderstood artists of his generation -Coe being the other. Coe emulates Dylan's voice throughout the verses and sings in his own on the refrains. It's followed by a funky country reading of Dylan's Gotta Serve Somebody with Lacy J. Dalton. Another highlight: an eerie cover version of the The Ride (a #4 country hit in 1983), in which the ghost of Hank Williams makes an appearance to offer advice. Hello In There has two sides: country and city, and again David Allan Coe mixes his own songs with covers and revivals that reflect his feelings at the time. 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Born in Leicester around 1673, Robert Valentine came from a family of musicians, but found his vocation and his career path once he moved to Rome in his 20s. Working as a violinist and flautist for several churches, he was evidently proficient in several other instruments such as the oboe, and quickly found his feet as a composer with an ear for public taste, and the ability to translate his instrumental virtuosity into original invention on the page. The present album takes a representative sample of that fluent invention with sonatas and 'concertos' (also written for chamber forces) from several different collections. A Sonata for two recorders holds instant appeal for anyone captivated by Vivaldi's writing for the instrument. A Concerto in B flat, for recorder, two violins and ensemble, is worthy of comparison with the work of the Venetian master, for it's brilliance and intensity. By contrast, the style of the 'Concerto con Flauto Traversiero' leans towards a crystalline simplicity, well suited to the delicate sound of the transverse flute of the period, and capable of producing those chiaroscuro effects and dynamic nuances that the recorder lacks. In each case, Valentine writes sensitively for his chosen forces. A pair of sonatas for flute and basso continuo, published in 1735 as part of Valentine's Op.13, are effectively elegant Baroque dance-suites - whereas an Op.13 published elsewhere under Valentine's name includes a violin sonata written in the galant style, full of rustic fanfares and flourishes. Founded and led by the flautist Enrico Casularo, Ensemble Afflatus specialises in the performance and recording of little-known, often unpublished music from 18th-century Italy. Casulero is also an editor of this repertoire, and a teacher of Baroque flute at the Santa Cecilia conservatoire in Rome. 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