Basically this is a collection of some sessions Jimmy Page did in the 1960's. Contains performances with Jimmy Page by: Eric Clapton, Brian Auger, Sonny Boy Williamson, The Authentics and others.
Unquestionably one of the all-time most influential, important, and versatile guitarists and songwriters in rock history is Jimmy Page. Just about every rock guitarist from the late '60s/early '70s to the present day has been influenced by Page's work with Led Zeppelin - his monolithic riffs served as a blueprint for what would eventually become heavy metal, yet he refused to be pigeonholed to any single musical style (touching upon folk, country, funk, blues, and other genres). Page also lent a hand in writing (or co-writing) Zeppelin's vast array of classic songs and produced all their albums.

The two-CD set Impressions: The Verve Jazz Sessions salvages Wes Montgomery's straight jazz sessions for Verve, leaving the pop-oriented covers and orchestral sessions to the original albums. There are selected numbers from albums like Movin' Wes, Goin' Out of My Head and California Dreaming, illustrating that those albums were hardly worthless - each track proves that Montgomery's touch remained elegant and supremely tasteful. The second disc is devoted to the complete sessions for Smokin' at the Half Note, the legendary recording Montgomery made at Van Gelder Studios in 1965 with bassist Paul Chambers, pianist Wynton Kelly and drummer Jimmy Cobb. The music on the record is easily among Montgomery's finest, and this is the first time that all the music from the sessions has been collected in one place…

Mark Knopfler: BBC Sessions 1988 - 2018. Very Rare and Limited 2019 EU CD Digipack.

Promoted as Guru Guru's 40th anniversary album, though in reality this version of the band didn't start until 1995. In any case, Psy is a fairly good release, drawing equally upon all members (it isn't just Mani's show), and featuring ADII's Chris Karrer on three tracks. The opening cut, "Dark Blue Star" is the best, bringing to mind the frenzied krautrock of yore.

On Can't Slow Down, his second solo album, Lionel Richie ran with the sound and success of his eponymous debut, creating an album that was designed to be bigger and better. It's entirely possible that he took a cue from Michael Jackson's Thriller, which set out to win over listeners of every corner of the mainstream pop audience, because Richie does a similar thing with Can't Slow Down – he plays to the MOR adult contemporary audience, to be sure, but he ups the ante on his dance numbers, creating grooves that are funkier, and he even adds a bit of rock with the sleek nocturnal menace of "Running With the Night," one of the best songs here.

This instrumental electronic work is an one-man project, created by Frédy Guye who had lived in Switzerland. The original ultra-rare LP has been released in 1975 in a limited edition of 100 copies and was only available at concerts. "Journey Into A Dream" is still a very unknown gem, but should be interesting for everyone who owns records from early Tangerine Dream, Klaus Schulze or Ashra.

"I'll Melt With You" will forever be the one specific moment that's Modern English's place in pop history, but the album it came from, After the Snow, isn't anything to sneeze at. Indeed, in transforming from the quite fine but dour young miserabilists on Mesh & Lace to a brighter incarnation that still had a melancholy side, the quintet found exactly the right combination best suited for their abilities. Like contemporaries B-Movie and the Sound, Modern English used punk and post-punk roots as a chance to introduce a haunting, beautiful take on romance and emotion, while the contributions of Stephen Walker on keyboard helped make the album both of its time and timeless. That said, the secret weapon on the album is the rhythm section of Michael Conroy and Richard Brown, able to shift from the polite but relentless tribal beat clatter on the excellent "Life in the Gladhouse" to the ever more intense punch of the title track, the album's unheralded masterpiece.

Nino Rota’s reputation outside Italy as, at best, a civilised purveyor of minor theatre music is turning out to be hardly even a half-truth. BIS’s series of his symphonic and chamber works, and Chandos’s of the concertos, reveals a composer of incisive gifts and technical brilliance. Civilised the music certainly is, but often far more than that, its pervasive wit enhancing rather than detracting from the elegant suggestions of deep feeling. The wise and wily ‘neo-classicism’ of the Third Symphony sets out like an exercise in updated Mozart, but though Prokofiev’s Classical Symphony is brought to mind it soon becomes evident that a strain of acid melancholy undercuts the dapper phraseology. The model here, if there is one, seems more likely to be late Busoni, with disturbing cross-currents just beneath the surface. The Concerto festivo, more obviously a display piece, takes Italian opera genres (aria, cabaletta, etc) and reinterprets them in fairly irreverent orchestral terms, while the ballet music that Rota produced for the tercentenary of the death of Molière – almost his last work –insouciantly mixes Baroque, modern and popular styles, just as it mixes merriment and melancholy, with constant technical brilliance and utter lack of pomposity. The Swedish performers take to the Italianate gaiety as to the manner born. A delightful disc.