2009 CD/DVD live release from the veteran Synth Pop band fronted by Terri Nunn includes a bonus DVD. Berlin's Electro-Pop sound features the enduring and assertive voice of Nunn, which is why All The Way In is the most preferable place to hear this Los Angeles-based group's music. Berlin made its first national impression with the provocative single 'Sex (I'm A…)' from the gold-selling debut EP Pleasure Victim in 1982. The Synth-soaked punch of 'No More Words' from 1984's Love Life album and the number one ballad 'Take My Breath Away' from the film Top Gun are the album's high points. Berlin's '80s poignancy provided some rather palatable music, even if the charts didn't say so. Songs like 'Dancing In Berlin' and 'Scream' could compete with anything Depeche Mode or Duran spouted at the time, and the range of Nunn's vocals elevated most of Berlin's efforts above the norm of the run-of-the-mill synthesizer glitz. All The Way In captures Berlin at their best in front of a hometown Los Angeles crowd.

For Everyman is the second album by American singer-songwriter Jackson Browne, released in 1973. The album peaked at number 43 on the Billboard 200 chart and the single "Redneck Friend" reached number 85 on the Billboard Hot 100 chart. Guest artists included David Crosby, Glenn Frey, Elton John (credited as Rockaday Johnnie), Don Henley, Joni Mitchell and Bonnie Raitt. In 2003, the album was ranked number 457 on Rolling Stone magazine's list of the 500 greatest albums of all time.

My Morning Jacket A cheval entre indie-rock et country alternative, My Morning Jacket, formation américaine originaire du Kentucky, mêle sonorités rurales americana aux assauts d'une guitare et d'une batterie parfois teintés de textures héritées du mouvement Shoegazing. Avec sa voix plaintive à la Neil Young et armé d'un solide sens poétique, Jim James mène le groupe qui commence à générer un buzz dès son second effort, At Dawn avant de s'imposer à un public plus large avec It Still Moves en 2003 et de livrer l'un des disques les plus remarqués de la décennie avec Z en 2005, et son single "Off the Record".

“Welcome to the start of the King Crimson 1984 tour of America I hope you know some of these songs and note the discrepancies and applaud our bravery afterwards” says Belew. The band take a little bit of time to bed down on this opening gig, ironing out a few wrinkles on the fly as is customary on these opening shows.A storming version of industry with Belew at his pointillistic, abstract best, coaxing all manner of elliptical sounds which are probably not recommended by the makers of the guitar or his pedalboard set-up. The track creates its own space and time in which Crimson glowers and scowls. Belew’s distorted voice in the verse sections of Dig Me continues the brooding intense atmosphere. There’s a sprightly yet thunderous rendition of Sleepless to savour although Man With An Open Heart has a heart-stopping moment as Belew realises he’s using the wrong guitar and the song has to be restarted. Also of interest is a wild Sartori and a rumbling version of Discipline.The quality of this audience recording isn’t too shabby though close listening reveals there’s something of an ongoing albeit enthusiastic commentary in the quieter sections.

Madison Square Garden, New York City, NY, November 27, 1980
Bonus Tracks: Madison Square Garden, New York City, NY, November 28, 1980

The first night of a 10 night stand at Brendan Byrne Arena at The Meadowlands in New Jersey, 8/5/84 is the first complete recording officially released from Bruce Springsteen’s historic Born In The U.S.A. Tour. This was the E Street Band’s first tour with Nils Lofgren on guitar (Stevie Van Zandt had left the band) and Patti Scialfa on vocals and percussion. As with the popular Nassau ’80 archive release, Meadowlands ’84 was recorded live with the Record Plant Remote Truck by Toby Scott, and the master analog multitrack reels were transferred at Sonicraft and restored via The Plangent Process for maximum audio fidelity. Toby Scott mixed the show for this release in April 2015. The high quality recordings of this show prompted us to offer this release in DSD, an additional high resolution format that’s 64 times the resolution of a standard CD.

Catch a Fire was the major label debut for Bob Marley and the Wailers, and it was an international success upon its release in 1973. Although Bob Marley may have been the main voice, every member of the Wailers made valuable contributions and they were never more united in their vision and sound. All the songs were originals, and the instrumentation was minimalistic in order to bring out the passionate, often politically charged lyrics.

One of the reasons that Jackson Browne's first album is among the most auspicious debuts in pop music history is that it doesn't sound like a debut. Although only 23, Browne had kicked around the music business for several years, writing and performing as a member of the Nitty Gritty Dirt Band and as Nico's backup guitarist, among other gigs, while many artists recorded his material. So, if this doesn't sound like someone's first batch of songs, it's not. Browne had developed an unusual use of language, studiedly casual yet full of striking imagery, and a post-apocalyptic viewpoint to go with it. He sang with a calm certainty over spare, discretely placed backup – piano, acoustic guitar, bass, drums, congas, violin, harmony vocals – that highlighted the songs and always seemed about to disappear. In song after song, Browne described the world as a desert in need of moisture, and this wet/dry dichotomy carried over into much of the imagery.

The Collection is a compilation album for the new wave/dance diva best known for her 1982 hit 'Kids in America'. This collection basically sums up the second half of Kim Wilde's career. Includes 18 tracks: 'You Came', 'Never Trust a Stranger' and more.

Dusty Fingers is the name of a series of compilation records of songs that are widely admired as breakbeats collected by Bronx DJ Danny Dann the Beat Mann. Some of the songs featured contain "open breaks" which are solo drum passages which enable DJs to easily transition into them. These are also attractive to producers, who loop or rearrange them to create new compositions. Following in the tradition of the Ultimate Breaks and Beats series, the Dusty Fingers records contain an eclectic range of musical styles: mainly funk and jazz, but also including soul, rock, disco, and pop. Many of the songs in the Dusty Fingers series have been sampled into new musical compositions, mainly by hip hop producers. Popular songs that sample songs from the Dusty Fingers series include "Guilty Conscience" by Eminem, "Find Your Wealth" by Nas, "Rowdy Rowdy" by 50 Cent, "Show Me What You Got" by Jay-Z, "Daydreamin'" by Lupe Fiasco, and "Dr. Carter" by Lil' Wayne.

Bruce Springsteen Comme Elvis Presley, Bob Dylan, Neil Young et quelques autres, Bruce Springsteen dépasse les frontières du genre musical dans lequel on tenterait de l’encager. Au fil de ses albums, le kid du New Jersey est devenu un symbole, tant musical qu’idéologique. Marchant sur les traces de son idole Dylan, le Boss s’est lancé dans des instantanés souvent poignants de cette bannière étoilé froissée, de l’american dream souvent maltraité, bref la chronique d’une Amérique de la marge, dont il reste l’un des plus étincelants ambassadeurs… Rares sont les musiciens ayant une aura aussi développée auprès de leur public que lui. Depuis le début de sa carrière au milieu des années 70, il n’a eu de cesse de tourner, de remplir inlassablement les stades et les plus grandes salles du monde. La soixantaine bien entamée, le Boss met toujours autant d’âme dans ses concerts et sur disque, ce qui explique l’intérêt constant que lui portent ses nombreux fans.

This odds and sods collection of the Jefferson Airplane gives an eclectic overview of one of the premier San Francisco bands. Although several of their better-known songs are included ("White Rabbit," "Volunteers"), the purpose of Flight Log seems to be to tell the story of the original JA lineup rather than present their greatest hits. The first half of the record documents the group together, the second half the group apart. A live version of "Somebody to Love" rides the sonic punch of Kaukonen and Cassady; Marty Balin's "Comin' Back to Me" remains one of the Airplane's finest ballads. The initial Hot Tuna recordings are also represented here along with tracks from the Blows Against the Empire assemblage. The inclusion of Jefferson Starship's "Ride the Tiger points the way to a slicker, pop-oriented future. While Flight Log is not essential, it may certainly be of interest to devout fans of the Jefferson Airplane.

This compilation chronicles the history of Jefferson Airplane/Starship as seen on the VH1 Behind the Music series. This is the first CD to encapsulate the band as it morphed between its three phases with the only consistency being the vocals of Grace Slick. These 18 tracks start with 1967's summer of love anthems "Somebody to Love" and "White Rabbit," then move into the decadent '70s haze of "Miracles" and "With Your Love," and conclude with the '80s glossy pop/ballads "We Built This City," "Sara," and "Nothing's Gonna Stop Us Now." Fans of one particular incarnation of the band may find parts of this nauseating or outdated, depending on where they stand. For better or worse, the band constantly evolved throughout three decades, unlike other mega superstar groups that gained prominence at the same time.

On August 13, 1965, Jefferson Airplane made their debut at the Matrix in San Francisco, and the club, founded by Airplane singer Marty Balin, was also having its opening that night. Two and a half years later, on February 1, 1968, Jefferson Airplane returned to the Matrix to play a show. By then, the group (three of whose six members had been replaced along the way) was a national success with a gold second album, Surrealistic Pillow, and two Top Ten singles, "Somebody to Love" and "White Rabbit."

This was the first serious effort to assemble the best and most interesting of the Jefferson Airplane's work from beginning to end. At the time, the group's catalog on CD was in a woeful state of disrepair, hastily mastered from LP production sources and sounding worse than original vinyl copies of many of the titles, and there was no comprehensive anthology,