Zoot Sims, who was in his Pablo period, is heard throughout at the peak of his powers. Joined by a superb rhythm section, Sims plays six familiar standards, the obscure "In the Middle of a Kiss," Gary McFarland's "Blue Hodge," and his closing blues "Morning Fun." Zoot, who switches to soprano on "The Very Thought of You," swings up a storm as usual without playing a single dull or frivolous chorus. Kenny Drew and Niels-Henning Ørsted Pedersen also have their spots but the focus is mostly on the saxophonist. This set holds its own with Zoot Sims' classic studio performances of the era.

When considering the "strict" period of neo-prog (i.e., the 1980s), The Wake is definitely a classic. Together with Marillion's first LPs, it helped define what neo-progressive was and generated dozens of sound-alike albums by as many bands in the U.K. and worldwide. While IQ would top The Wake with the 1997 two-CD set Subterranea (stronger compositions, stronger musicianship), the former remains the band's true classic, a must-have for anyone remotely interested in progressive rock from the 1980s. The third album by the band, it took a more pop approach than Tales From the Lush Attic; there was no 20-minute epic track and songs were rather simple in terms of structure. "The Thousand Days," the title track, and "Corners" had single potential, especially the first of these, a stirring rock number…

The '70s were a fertile period for Manuel Göttsching. Having pioneered the kosmische guitar freakout with Ash Ra Tempel, he had embarked on a new phase by mid-decade. Inspired by minimalist composers Terry Riley, Steve Reich, and Philip Glass, Göttsching traded musical visions of outer space for trance-inducing meditations on inner space. Between 1974 and 1977, Göttsching pursued this new aesthetic on Inventions for Electric Guitar, Le Berceau de Cristal, New Age of Earth, and Blackouts, immersing himself in an electronic environment that often fused his signature guitar work with sequencers and synths. Although not released until 1991, Dream & Desire was recorded in 1977. Its ambient and proto-techno explorations hold up reasonably well alongside Göttsching's previously released recordings from the mid-'70s, and also resonate favorably with the work of like-minded contemporaries such as Edgar Froese, Klaus Schulze, and Tangerine Dream…

3 CDs featuring 87 tracks including 58 previously unreleased recordings, backing tracks and a generous selection of stereo and mono mixes for both album and non-album cuts
Features 45-rpm vinyl single of the one-of-a-kind acetate versions of "I Go Ape" and "(I Prithee) Do Not Ask For Love".

The acronym is F-A-M-E, but it may as well be S-O-U-L. It was a full half-century ago that the recording studio, record label and publishing operation originally known as Florence Alabama Music Enterprises established itself and its trademark sound with the hit recording of ‘You Better Move On’ by Arthur Alexander. In the fifty years since, FAME Studios and its idiosyncratic founder Rick Hall have been at the forefront of the Muscle Shoals Sound. FAME begat the process whereby a little known Alabama backwater would evolve into the very crucible of southern soul, a holy place to where musicians, singers and fans still make a very specific pilgrimage in the hope of experiencing a little bit of the magic behind so many hit records: ‘I’m Your Puppet’, ‘Land Of 1,000 Dances’, ‘Tell Mama’ and countless others.

Four CD set. NOW That's What I Call Massive Hits & #1s features 84 tracks including 55 #1s, with the remaining 29 tracks all enduringly popular top 3 smashes! Includes tracks by Queen & David Bowie, The Police, U2, Britney Spears, Ed Sheeran, Oasis, Coldplay, UB40 & Chrissie Hynde, Billie Eilish, Dua Lipa, Carly Rae Jepsen, One Direction, Spice Girls, The Supremes, Jackson 5, Elton John & Kiki Dee, Cliff Richard, Sweet, Stevie Wonder, Wizzard, 10cc, Harry Nilsson, Terry Jacks, Mott The Hoople, Ben E. King, Celine Dion, Robbie Williams & Nicole Kidman, Irene Cara, Ray Parker Jr., Village People, Don McLean, Cher, The Jam, The Stranglers, Fleetwood Mac, Roy Orbison, Bonnie Tyler, and many others. Back-to-back non-stop chart smashes - and all massive hits and #1s!

Space Invader is the sixth solo album by former Kiss guitarist Ace Frehley, released on August 19, 2014 via eOne Music. It is his first album of new studio material since 2009's Anomaly. Frehley self-produced the album, which was recorded at The Creation Lab in Turlock, California. Upon release, the album reached No. 9 on the Billboard 200 albums chart, the only time a solo album from a past or current Kiss member has ever attained a US top 10 album position.

Career spanning 3-CD David Crosby box spotlighting the 2x Rock and Roll Hall of Famer's solo stand-outs and classics with legendary groups including the Byrds, CSN, and CSNY! Plus one full disc of previously unreleased material. He's always received second billing to Stephen Stills in Crosby, Stills, and Nash, and once played third fiddle to Roger McGuinn and Gene Clark in the Byrds, but there is no doubt that David Crosby is one of the true originals of a folk-rock style that has paralleled his 40-year career, which is celebrated on this three-disc set of hits and near misses, demos, and outtakes. The first two CDs run chronologically, from the Byrds' "Eight Miles High" (which Crosby co-wrote) through his '70s and '80s solo records to "Through Here Quite Often," from his 2004 album with Graham Nash. Crosby was the draftsman of the transcendental harmonies that defined both of his bands, his plaintive vocals generally serving as a complement to the others'. But he takes the lead on this 52-song collection's greatest moments: his chilling falsetto on "Music Is Love" (from his 1971 debut solo release); a call out to his dying mother on "Carry Me" (1975's Wind on the Water, with Nash), and "Yvette in English," a 1993 collaboration with Joni Mitchell (Thousand Roads). Some selections swing and miss–"Hero," co-written with Phil Collins in 1993, and a few recorded in the late '90s with CPR, featuring his son James Raymond–but Voyage recuperates with disc three's 16 previously unreleased tracks. The jewel? "Cowboy Movie," a 10:57 opus from 1970 featuring both Neil Young and Jerry Garcia on lead guitar. –Scott Holter

Bristol Archive present an album of the cream of Bristol’s 1980s ‘Goth’ scene. With sleeve notes from Pete Webb; a member of one of Bristol’s earliest Goth bands; Necromancy, quotes from Jon Klein of Specimen and in beautiful trans red vinyl, this is another hugely valuable document of the music and scene in Bristol and the Southwest. The Bristol Goth explosion was a key part of the growth of the whole scene in the UK in many ways. Two bands on this compilation were formed in 1981: Specimen and Necromancy. Specimen made the move to London in 1982 and started the Batcave club now synonymous with the Goth story. The other; Necromancy stayed in Bristol and played and partied at the Bastille Club, a similar club to the Batcave, but a hidden and less known transgressive den for the emerging Gothic Punk scene.

Phenomena is a rock concept around a supergroup formed by record producer Tom Galley, Metalhammer magazine founder Wilfried Rimensberger and Tom's brother, Whitesnake guitarist Mel Galley. Contributors were leading rock musicians such as Glenn Hughes, Brian May, Tony Martin and John Wetton amongst others. In a cover story, run by Kerrang! magazine in 1985, Phenomena's production of rock songs based on a story line running through a whole album, attached to artworks and other multi-media aspects was credited for the "return of the concept album" in the 1980s.

Release '97. A live album by Paul Rodgers of Free and Bad Company fame. Recorded at the Rockpalast Open Air Festival, at Loreley, Germany on 8 July 1995.

Home for Christmas features Kim Waters performing a variety of Christmas favorites. Featured songs include "The Christmas Song," "Christ Was Born on Christmas Day," "White Christmas," and "Silent Night," along with six others. Most of these songs are well-known and performed in a straightforward style. This collection should delight anyone looking for a plain holiday album who also appreciates Waters' style of music.

Christmas is vocalist Michael Bublé's first full-length holiday-themed album since his 2003 EP Let It Snow. As with that album, Christmas features Bublé backed by small ensembles as well as his big band and orchestra, and includes a handful of classic Christmas songs. In that sense, the album is a rather old-school affair, with Bublé in prime Bing Crosby-meets-Dean Martin vocal style tackling such chestnuts as "It's Beginning to Look a Lot Like Christmas," "Silent Night," and "I'll Be Home for Christmas." There are also some fine, contemporary, if still retro-sounding, pop moments here including Bublé's duet with the British female pop trio the Puppini Sisters on "Jingle Bells," and his inspired, slightly melancholy reworking of Mariah Carey's "All I Want for Christmas Is You." Ultimately, Christmas is a warm and inviting album that showcases Bublé's impeccable vocal chops.

Angelo Berardi (Sant’Agata Feltria, Urbino, 1630 – Rome, 1694) was a pupil of Giovan Vincenzo Sarti and Marco Scacchi, of the Roman school, the latter a fundamental figure in his training. Committed supporter of the Seconda Prattica, Berardi maintained that modern music had reached “greater perfection compared to the past” and that the practice of music was more important than theory. He asserted, moreover, that a good composition should also elevate the soul to virtuous thoughts.

Norah Jones took liberty with her blockbuster success to set out on a musical walkabout, spending a good portion of the decade following 2004's Feels Like Home experimenting, either on her own albums or on a variety of collaborations. Day Breaks, released four years after the atmospheric adult alternative pop of the Danger Mouse-produced Little Broken Hearts, finds Jones returning home to an extent: it, like her 2002 debut Come Away with Me, is a singer/songwriter album with roots in pop and jazz, divided between originals and sharply selected covers.