Inspired by a variety of British Invasion groups, from the omnipresent Beatles to cult favorites the Move, Todd Rundgren and his Woody's Truck Stop colleague Carson Van Osten formed the Nazz in 1967. Taking their name from an obscure Yardbirds song, the Nazz were arguably the first Anglophiles in rock history. There had been many groups that drew inspiration from the Beatles and the Stones, but none had been so self-consciously reverent as the Nazz. One of their first singles, "Open My Eyes," twisted the riff from the Who's "I Can't Explain," and much of their music felt like homages to Brit rock from the Kinks to Cream, thereby setting a precedent that was followed by scores of North American guitar pop bands from the Raspberries to Sloan…

This single-CD compilation doesn't do too much more than scratch the surface of the band's sound at its most popular points, but it does do one thing that no prior Moody Blues compilation ever did – it includes "Go Now," which, as the notes point out, is still the group's top-charting single in England. What it doesn't do is get "Go Now" in really good sound (no one seems to have a proper master source) or include their even better follow-up single, "From the Bottom of My Heart." Still, this body of work is pleasing and, thanks to its extension back to the original lineup, even a little bit informative, and it was the first Moody Blues compilation to be mastered in 20-bit audio.

Most of this disc is taken up with Liszt's Christmas Tree, an unusually modest suite based on Christmas carols. It also offers charming pieces by Reger, Tchaikovsky, Rebikov, and Lyapunov based on Christmas themes, and a couple of Bach transcriptions. Eteri Andjaparidze, whose first CD was a sensational Prokofiev collection, plays this music truly superb musicianship and the kind of pianistic color that has become a rarity. Her Jesu, Joy of Man's Desiring is the most beautiful I've heard since Dinu Lipatti's. And wait until you hear her delightful playing of Leroy Anderson's Sleigh Ride! It's deliciously witty and charming.

The Matangi Quartet's 2005 release Scandinavia has one slight problem: while two of the composers, Edvard Grieg and David Monrad Johansen, were Norwegian, the third, Julius Röntgen, was Dutch! His presence is explained by his close friendship with Grieg, and the Matangi Quartet's decision to include his attractive two-movement Quartettino in A minor as filler is barely justifiable through that connection. Grieg's String Quartet in G minor, Op. 27, and Johansen's String Quartet, Op. 35, both deserve their place here, not only due to their creators' nationality but because they are solid examples of quartet writing outside the German tradition, and demonstrate the Norwegian proclivity to incorporate folk-inspired melodies in looser, more sectionalized developments than are found in Classical, motivically integrated models.

Throughout the 1990’s, Hiatt recorded a series of well-received and commercially successful albums and toured widely. Chart position by now became perhaps less relevant to Hiatt's career: he was developing a consistently supportive audience; he was nominated for Grammy awards. By the end of the decade, Hiatt was releasing albums on independent labels and achieving consistent success outside mainstream commercial structures. In this 2003 concert, Hiatt is joined by Sonny Landreth on guitar, David Ranson on bass, and Kevin Blevins on drums – the tight and virtuoso combo Hiatt dubs the Goners; these musicians had played on "Slow Turning", and "The Tiki Bar Is Open", as well as on "Beneath This Gruff Exterior", Hiatt's most recent album when this concert was recorded.

Chicago guitarist Jimmy Dawkins would have preferred to leave his longtime nickname "Fast Fingers" behind. It was always something of a stylistic misnomer anyway; Dawkins' West Side-styled guitar slashed and surged, but seldom burned with incendiary speed. Dawkins' blues were generally of the brooding, introspective variety - he didn't engage in flashy pyrotechnics or outrageous showmanship.
It took a long time for Dawkins to progress from West Side fixture to nationally known recording artist. He rode a Greyhound bus out of Mississippi in 1955, dressing warmly to ward off the Windy City's infamous chill factor. Only trouble was, he arrived on a sweltering July day! Harpist Billy Boy Arnold offered the newcomer encouragement, and he eventually carved out a niche on the competitive West Side scene (his peers included Magic Sam and Luther Allison).

This Xanadu LP has an odd title because only half of the music can be described as international. There are four valuable selections that feature the remarkable altoist Charlie Parker with a group of Swedes (including trumpeter Rolf Ericson) and the great trumpeter Clifford Brown is heard playing a lengthy "Indiana" in 1953 with a group of erratic Danish musicians. Side two of the album is from New York with altoist Phil Woods, Frank Socolow on tenor and baritonist Cecil Payne in a sextet performing fairly long versions of "Yardbird Suite" and "Scrapple from the Apple"; those renditions have since been reissued by Savoy.

Siloah (1970). In 1970 Manuela, Tiny, Thom and Wolfgang were living and playing together in Munich. Under the name of Siloah they released a now highly sought-after LP whose master tapes are lost. In 1993 it was released on CD for the first time (Lost Pipedreams LP 013 CD), but unsufficiently decrackled and without any bonus tracks. Now at last there is a flawless re-issue of it including everything recorded at that time - even the track from the extremely rare "Release" sampler as well as their 7'' "Mit Tiny nach Tanger", of which only one copy was made. But what is most impressive is the 28-page booklet in colour, which leaves nothing to be desired. Siloah’s second album, "Sukram Gurk", recorded with a new line-up in 1972, is soon to follow. Dag Erik Asbjørnsen: "Siloah made two LPs, regarded as among the most frenzied on the German underground scene"…

With the distinct ethnic-driven sound of Deep Forest, Eric Mouquet belongs to the few unique pioneers of electronic music. His highly recognizable sounds defined the concept of world music and shaped the all-new sound of ethnic-electronica. Deep Forest’s latest releases include Deep Brasil, Deep Africa and Deep India where Eric Mouquet explores the unique musical expressions of some exciting cultures.
On his new album “Evo Devo” Eric Mouquet has gone even further - and nevertheless simultaneously back to the “bohemian feel” of his early works. His tonal craftsmanship has developed into an own artistic language. Every track explores a distinct emotion. You can almost feel and follow Eric’s inner motivations and share his musical journey to the frontiers of contemporary electronic music and beyond.