Reissued edition of Type O Negative third studio album including a bonus CD with seven tracks (although eight ones are listed in the packaging, one is missing) celebrating the 30th anniversary.
Bloody Kisses was Type O Negative's major step forward, maintaining the long, repetitive song structures of albums past, but adding more atmospheric synths and left-field Beatlesque pop melodies. The quantum leap in songwriting is what really drives the album, but it also coincides with a newfound sense of subtlety. Aside from a couple of smart-aleck rants, Peter Steele's dark, melodramatic songs address heartbreak and loneliness in what sounds at first like deadly serious overkill. But not far beneath the surface, he's also satirizing his own emotional excesses, and those of goth rock in general…

Eolian Minstrel is Andreas Vollenweider's debut SBK Records release and the long awaited followup to his 1991 #1 NAC and jazz album, Book of Roses. Andreas plays a harp, but one that has been modified to produce an extraordinary range of sounds. A damper which he designed himself allows him to strum and pluck with more crispness and percussive attack. A microphone attached to each string allows for greater articulation of individual notes, and hand-made strings further define his unique sonorities. This recording is Andreas' most daring album to date and for the first time features guest vocalists, such as Carly Simon and Eliza Gilkyson.

A superb recording of Haydn's Saint Nicholas Mass on period instruments by Trevor Pinnock conducting the English Concert. One needn't be an expert in Haydn or in classical vocal music to enjoy the brilliant clarity of the orchestra or the fecundity of Haydn's writing, and the soloists–Nancy Argenta, Catherine Robbin, Michael Schade, and Alastair Miles–are perfect. The Theresienmesse, a mass in B flat minor, is also featured on this disc.

This is the third of four studio dates featuring guitarists George Van Eps and Howard Alden together, except that they are both on seven-string instruments and without a rhythm section this time around. Alden's step up to the more versatile instrument enables him to use a bassline when needed while also enabling him to achieve chord voicings that weren't possible on a six-string instrument. Like their earlier collaborations, this CD concentrates on well-hewn standards that have great melodies which provide inspiration for lyrical improvisations, ranging from a relatively easygoing "Ja-Da" to a shimmering "Skylark." Van Eps goes it alone on his newly written "Salute to Basie" and a very soft "Last Night When We Were Young." Fans of jazz guitar should snap up this gem, along with all other dates by George Van Eps and Howard Alden (whether they're together or featured individually).

Aaron Randall advises his listeners to prepare for attack, but by then the battle has already commenced, as guitarists Jeff Waters and Goldberg roll out the usual power chords and the rhythm section of Wayne Darley and Mike Mangini piledrive every beat. Annihilator bring a certain efficiency to garden-variety speed metal, never wasting time, which, in a genre defined by excess, gives them a certain elegance.

Promotional album, in a limited edition run of 500 copies. A couple of years before the release of "A Trick Of Memory" (the first Martin Barre solo work wich includes his own material and was properly distributed), this CD was released and distributed through the Jethro Tull fanzine "A New Day", in a limited edition of 1000 copies on CD and Cassette (500 copies of each format). Martin Barre was the guitarist of Jethro Tull for over 43 years, his sound and playing was a major factor in their success. Album sales have exceeded 60 million units and they continue to be played worldwide, representing an important part of classic rock history. Martin’s guitar playing has earned him a high level of respect and recognition; he was voted 25th best solo ever in the USA and 20th best solo ever in the UK for his playing on ‘Aqualung’. His playing on the album ‘Crest of a Knave’ earned him a Grammy award in 1989.

The songs on this CD were recorded on February 3rd and 4th, 1978 at the New Orleans club named in his honor after one of his most beloved songs, "Tipitina." This album would serve as an excellent introduction to Professor Longhair for anyone yet unfamiliar with his unique sound.
Rob Bowman describes the tracks this way: "The evenings were typical 1970s Longhair, mixing his classics with an inspired set of covers. He introduces an enigmatically slowed down version of Hank Snow's 'I'm Movin' On' by saying 'Here's one Hank Williams did.' Later on he combines his own 'She Walks Right In' with Big Joe Turner's 'Shake, Rattle and Roll' and Fellow New Orleanian Chris Kenner's 'Sick and Tired'…

This is the album where Jeff Lynne finally found the sound he'd wanted since co-founding Electric Light Orchestra three years earlier. Up to this point, most of the group's music had been self-contained – Lynne, Richard Tandy, et al., providing whatever was needed, vocally or instrumentally, even if it meant overdubbing their work layer upon layer. Lynne saw the limitations of this process, however, and opted for the presence of an orchestra – it was only 30 pieces, but the result was a much richer musical palette than the group had ever had to work with, and their most ambitious and successful record up to that time.

The Broadsword and the Beast is the 14th studio album by Jethro Tull, released on 10 April 1982 and according to Ian Anderson in the liner notes of the remastered CD, contains some of Jethro Tull's best music. It mixes electronic sound, provided by Peter-John Vettese (a characteristic that would be explored further on the next album Under Wraps), with acoustic instruments. The album is a cross between the synthesiser sound of the 1980s and the folk-influenced style that Tull had in the previous decade. The Broadsword and the Beast is one of Steve Hackett's favorite albums.

Folk vocal trio with a smooth, wholesome delivery, who helped popularize the work of Bob Dylan and proved crucial in bridging two music generations. The most popular folk group of the 1960s, Peter, Paul and Mary in later decades have also proved themselves to be among the most durable music acts in history. Their longevity dwarfs that of the Weavers, while the fact that the trio continues to be associated with a major record label (Warner Bros.) after decades in the business sets them apart from rivals like the Kingston Trio and the Brothers Four. Then again, perhaps it isn't so surprising – Peter, Paul and Mary's roots run deeper than almost any other folk act one might care to name, while their appeal crosses audience lines that other acts couldn't (and can't) even approach.

Released in 1993, The Security of Illusion signaled a rebirth of sorts for Canadian prog rock popsters Saga, as earlier members Jim Gilmour (keyboards) and Steve Negus (drums) were welcomed back into the fold – for the first time since 1985's Behaviour. And as evidenced by the music, the result of the reunion returned the group straight back to their heady early-'80s period, especially on the downright vicious rockers "Mind Over Matter" and "Stand Up," as well as the percussive-heavy album closer, "Without You." Instead of being influenced by what was going on in the rock world circa this time period (here's a hint…well, whatever, nevermind), Saga stick to their guns on The Security of Illusion, and come up with a release that nearly managed to out-rock their Canadian competitor at the time, Rush.