While Tangerine Dream amassed its vast catalog throughout the '70s and '80s, chief Dreamer Edgar Froese was quietly releasing influential records of his own. This handy, two-disc set is a fine collection of some of the better moments from Froese's numerous solo outings, including 15 new tracks recorded specifically for this set, and the rest are extensively reworked with "new timbres." Consequently "Beyond The Storm" comes off less as a compilation than as a whole studio album based upon old themes. If you're a fan of Froese or TD this is a nice slice of that pie.

The Morgan Studios session team's sophomore album is a classic example of (very) early-'70s British pop, an exquisitely performed, flawlessly arranged collection of lightly rocking originals that are not quite soft enough to be as cloying as similar efforts by contemporaries Harmony Grass and the Brotherhood of Man, but only occasionally memorable enough to actually stick in the mind. The title track, Blue Mink's third U.K. hit, was the original album's main selling point – subsequently, of course, the group's prototype rendition of "Gasoline Alley Bred" attracted the most attention, courtesy of the Hollies' hit version, and it must be said that there is little to choose between either version. Impressive, too, is "You Walked Away," a Madeline Bell showcase that layers her vocals over sultry percussion and percolating guitar, while the closing "Jubilation" is a "Get Back"-style rocker that illustrates just what a powerful bunch of musicians Blue Mink was…

Elmore James Jr., son of the great Elmore James, is an accomplished and masterful Chicago blues singer, slide guitarist, and former rock & roll drummer. Second CD for Wolf Records, titled Old School Lover, is one of the best traditional Chicago blues albums of 2012. Includes six new songs and six traditional tunes in the Chicago blues style. Features Eddie Taylor Jr., Ed Williams, and Illinois Slim.

Quincy Jones had jazz fans wondering when he released his killer Gula Matari album in 1970. That set, with gorgeous reading of Paul Simon's "Bridge Over Troubled Water" with a lead vocal by none other than Valerie Simpson, pointed quite solidly into the direction Jones was traveling: unabashedly toward pop, but with his own trademark taste, and sophistication at the forefront of his journey. Its follow-up, Smackwater Jack, marked Jones, along with Phil Ramone and Ray Brown in the producer's chair, and knocked purist jazz fans on their heads with its killer meld of pop tunes, television and film themes, pop vocals, and big-band charts. The personnel list is a who's- who of jazzers including Monty Alexander, Jim Hall, Pete Christlieb, Joe Beck, Bobby Scott, Ernie Royal, Freddie Hubbard, Jerome Richardson, Ray Brown, Jaki Byard, Toots Thielemans, and many others…

These guys are an Irish band from the late 70's. The vocals remind of Rory Gallagher and the songs have a Thin Lizzy-ish quality with some nice dual harmony guitars. Songwriting is in the same mold as Lizzy as well as is the pace of the album. Nice guitars on this one supplied by Jim Armstrong who was in Them and also Truth (the Chicago-based one).
Anyone who remembers Them (with Van Morrison) between 1967 and 1968, and (without Van Morrison) between 1969 and 1971, or a Chicago-based band called Tuth, cannot fail to recall the playing of one of the world's great rock guitarists Jim Armstrong.
Following the demise of Truth in 1971, Armstrong retreated from the international scene to gig at a more relaxed pace in his native Belfast…

As the legend of Delerium lives on in Conjure One, the masterpiece of the main creative outlet of producer Rhys Fulber finally emerges as one of the world's best kept secrets. The former member of industrial flag bearers Front Line Assembly and crossover act Delerium is one of the most diverse producers of his time and brings you the multifarious creations of his 'Holoscenic' album.
Ranging from the astounding 'Kill The Fear' feat. Hannah Ray and the entrancing 'Miscreant', to the powerful 2013 singles 'Under The Gun' feat. Leigh Nash and 'Still Holding On' feat. Aruna, the album is fresh, intriguing, and absolutely striking. Home to some the most beautiful vocal performances and incredible atmospheres, 'Holoscenic' offers a lot more than any singular genre could offer…

You Can't Kill Me is the title of an early Gong song from the album Camembert Electrique (1971) where Daevid Allen sang that you can kill the body but not the spirit. In a sense it is also the essence of this new album, to have his spirit live on in the music.
Back in October 2012 when Gong played at the Boerderij in Zoetermeer Allen introduced his band as the new generation of Gong. And shortly before he passed away in March 2015 in a statement published on his website he specifically encouraged the band to continue without him. He always wanted the band to be a collective, not depending on one or more individuals including himself. He had left the band before, in 1975, and after his departure Gong carried on for a few years led by Steve Hillage, Didier Malherbe and Pierre Moerlen…

On their 14th studio opus, Cradle Of Filth blend their iconic macabre sound with dark new delights!
Grammy Award-nominated Cradle Of Filth reign supreme as one of the most revered, formative and notorious names in music - from the depths of the extreme metal underground to the peaks of mainstream pop culture itself, and are responsible for breaking ground for many of today’s top metal artists with their trademark mixture of blackened heaviness, macabre theatricality and scintillating gothic style.
Now, following the release of 2021’s Existence Is Futile - which debuted at #20 on the Billboard 200 with Hard Rock Genre (beyond many other chart debuts) - the international institution returns with their arrestingly catchy 14th studio album, The Screaming of the Valkyries…

By 1980, when Broadway was recorded, organist Richard "Groove" Holmes had already splashed onto the scene as an expansive adherent of Jimmy Smith's soul-jazz gospel, been a player in the music's modern boogaloo-acid jazz phase of the late '60s, and survived disco by dropping synthesizers into the mix. Finally arriving at the Muse label by the late '70s, Holmes settled into a loose amalgam of past proclivities, never forsaking his high musical standards and groove aesthetic. For this, his third Muse release, Holmes enlists fellow organ combo veteran Houston Person to produce and ostensibly co-lead on tenor saxophone; for his part, Holmes sublimely comps behind the soloists, electrifying the session with his fluidly nasty runs and sanctified musings on the B3…

Isle of Wight is a posthumous live album by Jimi Hendrix, released in November 1971. It documents Hendrix's performance at the 1970 Isle of Wight Festival on 31 August 1970, his last performance in England before his death less than three weeks later on September 18, 1970.

From mid October to late November 1982, TD toured in Europe performing 31 gigs at all in Austria, Hungary, Yugoslavia, the UK, Belgium, West and East Germany. The concert at the Dominion Theatre in London was released only a few weeks after on the record Logos Live. According to Johannes Schmoelling, this is one of his favourite albums. He considers "the live concept and the smooth transition between one idea and the next to be the key of the album's success." In 1995 Virgin re-released the album on CD in the so-called "Definitive Edition" series, featuring the original front cover artwork. For this release, the two compositions Logos, Part One and Logos, Part Two have been mixed together, forming the track Logos of some 45 minutes length.

Another overly polished effort that nevertheless packs a punch on many selections. Walker's songwriting is considerably less prominent, with only three self-penned tunes on the disc this time. Otis Blackwell's pulsating "On That Power Line" and the Don Gardner & Dee Dee Ford dustie "I Need Your Lovin'" receive spirited revivals, and there's an acoustic duet with James Cotton, "Going to Canada."

Vibraphonist Jay Hoggard has had a diverse recording career, playing everything from very free jazz to a couple of commercial efforts. In the 1990s he seemed to discover straight-ahead jazz, and this quintet session (with guitarist Kenny Burrell and pianist James Weidman) is mostly very much in that idiom. Hoggard is fine on standards such as "Stompin' at the Savoy" (a tribute to Lionel Hampton) and Monk's "Epistrophy," but it is on his originals (the soulful "Sweet Potato" and a fairly free "The Fountain") that Hoggard sounds most individual.

Atoll were a talented French ensemble who very much carried their own symphonic sound blending the finer aspects of fellow acts Ange, Pulsar and Mona Lisa. Their style is very theatrical in nature offering dynamic and melodic arrangements with some great song writing. Along the topics it is impossible to avoid the comparisons with Genesis, Yes and Mahavishnu Orchestra. The changes of members were another of the characteristics of this group who counted John Wetton among their members.
Recorded in 1974, "Musiciens-Magiciens" reveals itself as a great debut album.

With a discography that includes a classic debut album (1984's Welcome to the Pleasuredome), a misguided sophomore effort (1986's Liverpool), and very few B-sides but plenty (like tons) of remixes, compiling Frankie Goes to Hollywood in a one-disc set (with Japanese bonus CD) is easy if you don't over-think it. Knocking the new wave circus act's career with ease, Frankie Said certainly avoids just that. The rarities it offers are on the edge of even a rabid fan's interest ("Born to Run" "live" on the Tube is just the studio version but louder, and that Anne Dudley mix of "Two Tribes" is nothing but the piano intro, now isolated), plus all the hits ("Relax," "Two Tribes," "Power of Love") are present in both representative mixes and worthy alternates…