Band on the Run was a commercial success, but even if it was billed as a Wings effort, it was primarily recorded by Paul, Linda, and Denny Laine. So, it was time to once again turn Wings into a genuine band, adding Joe English and Jimmy McCulloch to the lineup and even letting the latter contribute a song. This faux-democracy isn't what signals that this is a band effort - it's the attitude, construction, and pacing, which McCartney acknowledges as much, opening with an acoustic title track that's a salute to arena rock, leading to a genuine arena rock anthem, "Rock Show." From that, it's pretty much rocking pop tunes, paced with a couple of ballads and a little whimsy, all graced with a little of the production flair that distinguished Band on the Run. But where that record was clearly a studio creation and consciously elaborate, this is a straightforward affair where the sonic details are simply window dressing…

This album was recorded during their mostly sold out world tour in Düsseldorf, Germany, the country where the band - apart from their home country - celebrated their biggest success to date. The sound of the recording is good and catches the intensity of the gig well. A document of pure fun and musical enthusiasm that make the listener smile regardless if he likes Billy Talent’s style or not. Rarely has a live recording been released lately that captures the atmosphere and punch of a gig so nicely… one has to take a look around from time to time to make sure the four guys are not rocking directly behind one’s back. Occasional mistakes have not been erased and heighten the live experience, and singer Ben Kowalewicz does not seem to care that on stage he misses a note or two regularly, which makes the Punk Rock roots shimmer through.

Such Sweet Thunder (1957). Excellent Duke Ellington work from the late 50s - written and recorded during a period in which he was reemerging with a stronger jazz vision than ever before! The set was written by Ellington and Strayhorn - and dedicated to the Shakespeare Festival in Stratford, Ontario - but forget the Bard-inspired roots of the tracks, because the shimmering moods of the pieces is pure Ellington - with a richness of feeling that's totally great, and a sound that's wonderfully fresh, given that most of these numbers aren't overplayed Ellington compositions! Players include Cat Anderson and Clark Terry on trumpets, Paul Gonsalves on tenor, and Johnny Hodges on alto…

The Night Watch is a terrific live album capturing the third incarnation of King Crimson - featuring Robert Fripp, John Wetton, Bill Bruford, and David Cross - at the Amsterdam Covertgebouw on November 23, 1973. Some Crimson fans consider this lineup to be the most musically adept in the band's history, and the dense, yet dexterous, playing will tell any curious listener exactly why this is so. It remains an album that will primarily please the diehards, but for those fans, The Night Watch is an essential purchase.

2011 three CD set, the fifth volume in the So80s series. The finest collection of original classic 12" club & extended mixes.
Blank & Jones' fifth So80s mix continues the duo's omnivorous presentation of '80s club music. Within the span of only a few tracks, the first disc moves from Bananarama's "Cruel Summer" to John Carpenter's "The End" and Liaisons Dangereuses' "Los Ninos del Parque" - from chart-topping pop to deep, cult-level gems. Among the other inclusions are Rick Springfield's "Celebrate Youth," New Order's "True Faith," Deacon Blue's "Real Gone Kid," and Thompson Twins' "Hold Me Now." Listeners with similarly broad taste will lap it all up.

Released as part of the Doors' celebration of their 50th anniversary, The Singles may at first glance seem to cover familiar ground as, in essence, it's another greatest-hits collection in a discography littered with compilations. Look closer, and the differences are immediately apparent. Designed as a clearinghouse for every single the band ever released, The Singles does indeed take its mission seriously, containing the A- and B-sides of such classic 45s as "Break on Through (To the Other Side), "Light My Fire," "Love Me Two Times," "Hello, I Love You," and "Riders on the Storm" but also not stopping the band's story with the death of Jim Morrison, which is a first for any Doors hits set. The second disc contains the five singles culled from the Morrison-less Other Voices and Full Circle, plus the lone 45 pulled from 1979's An American Prayer…

On Suitcase, his eighth studio release, Keb' Mo' (Kevin Moore) reunites with John Porter, the producer of Moore's critically lauded first album, and the result is a pleasant, midtempo suite of songs dedicated to the emotional baggage everyone carries with them as they plow through increasingly complicated lives in search of peace, love, and some measure of personal redemption. Moore covers this ground with a wink and a grin in his voice, though, and Suitcase emerges as a wry commentary on modern life that still manages to sound bright and positive, beginning with the effervescent, sprung reggae rhythm of the opening track, "Your Love," one of the best cuts here. Other highlights include the lovely ballad, "Still There for Me," a celebration of the little man and his private victories, "I'm a Hero," and the soothing, hopeful shuffle that closes things out, "Life Is Beautiful"…

Tenor saxophonist Sonny Rollins' first recording after ending a surprising three-year retirement found the great saxophonist sounding very similar to how he had played in 1959, although he would soon start investigating freer forms. In a pianoless quartet with guitarist Jim Hall, bassist Bob Cranshaw, and drummer Ben Riley, Rollins explores four standards (including "Without a Song" and "God Bless the Child") plus two fiery originals, highlighted by the title cut. The interplay between Rollins and Hall is consistently impressive, making this set a near-classic and a very successful comeback.

One of the seminal documents of the progressive rock era, a record that made its way into the collections of millions of high-school kids who never heard of Modest Mussorgsky and knew nothing of Russia's Nationalist "Five." It does some violence to Mussorgsky, but Pictures at an Exhibition is also the most energetic and well-realized live release in Emerson, Lake & Palmer's catalog, and it makes a fairly compelling case for adapting classical pieces in this way. At the time, it introduced "classical rock" to millions of listeners, including the classical community, most of whose members regarded this record as something akin to an armed assault. The early-'70s live sound is a little crude by today's standards, but the tightness of the playing (Carl Palmer is especially good) makes up for any sonic inadequacies…

Following four years after The Drop, Drawn From Life sees Brian Eno collaborating with German DJ J. Peter Schwalm. (Music for Onmyo-Ji, a previous Eno/Schwalm work from 2000, was released in Japan only.) Those who soured at the distant crispness of The Drop will find this to be a more inviting listen, even more so than Eno's 1996 collaboration with bassist Jah Wobble on Spinner. Jazzy, shuffling rhythms and strings that sway from cutting to sighing lay the foundation of most of the tracks, with some repetitive nonmusical effects often falling somewhere in the mix. If there is a fault of the record, it's that the vocals often get in the way of some fine background listening. If you don't have an affinity for Laurie Anderson's voice, you might be troubled that "Like Pictures, Pt. 2," which otherwise happens to be one of the record's most melodic and tranquil tracks, is interrupted by her intonations…

There's something about a post-millennium album cover that features a giant blue-horned minion of Satan in pre-pounce with an illuminated crystal ball in its leathery hand that simply warms the soul, and the fact that it adorns a record called Master of the Moon can mean only one thing: Dio. Unlike many in the aging metal community, Ronnie James Dio still possesses the same powerful voice that fueled the genre through its late-'70s and '80s heydays, and the reigning dark prince of Elfdom and two-time Black Sabbath frontman is still capable of writing a killer song or two. MOTM resembles earlier works like Last in Line and Sacred Heart in its ability to buffer those one or two great tracks with seven or eight forgettable ones. Luckily, it's the first one out of the gate, "One More for the Road," that packs the biggest wallop…

The group's fourth and final studio LP, Western Culture remained for a long time Henry Cow's hidden treasure. Two factors were instrumental to its occultation (and one more than the other): first, it was not released by Virgin like the other ones; second, it did not have the "sock" artwork common to its brothers. Obscurity aside, Western Culture remains one of the group's strongest efforts in the lines of composition, especially since the unit was literally torn apart at the time. Side one consists of a suite in three parts, "History & Prospects," written by Tim Hodgkinson. The opener, "Industry," stands as one of Henry Cow's finest achievements, the angular melody played on a cheap electric organ hitting you in the face so hard it makes an imprint in your brains…

This was a beautiful bossa nova record of Astrud Gilberto's vocal stylings… All the material here, with the exception of "Learn to Live Alone" and "Pretty Place," which were arranged by Al Cohn, were arranged by Gil Evans. With the exception of a Johnny Coles trumpet solo, the personnel was uncredited on this 1966 recording. Discographies have credited Bob Brookmeyer (valve trombone), Kenny Burrell (guitar), and Grady Tate (drums), but except for a few bars of sax, there was no solo indivdualism in this large Creed Taylor-produced orchestra.

Remixed and remastered classic Ayreon album, originally released in 2004, with bonus tracks from the Ayreon archives. The Human Equation was the sixth album from the progressive rock project Ayreon by Dutch musician Arjen Lucassen. As with other Ayreon albums, it features guest appearances from several musicians previously unrelated to the project, including James LaBrie of Dream Theater, Mikael Åkerfeldt of Opeth, Eric Clayton of Saviour Machine, and Devin Townsend, performing music arranged and written by Lucassen.
The album explores the idea of psychological rebirth, and follows the story of a man who, after falling into a coma following a car crash, is confronted with his past, his emotions, and his current situation as he lays trapped inside his own mind…

Compiled with the full involvement of Roland and Curt, ‘The Hurting - 30th Anniversary Edition’ brings together the original album remastered at Abbey Road studios, plus all of the relevant B-sides, edits and remixes from the period, many of them available for the first time and a third CD of previously unreleased live sessions. Each of the four discs will be packaged in individual gatefold wallets and the box will also contain a replica of the Tears For Fears’ 1983 tour programme and a 34-page hardback book detailing the making of the album with rare and previously unseen photos.
The Hurting would have been a daring debut for a pop-oriented band in any era, but it was an unexpected success in England in 1983, mostly by virtue of its makers' ability to package an unpleasant subject - the psychologically wretched family histories of Roland Orzabal and Curt Smith - in an attractive and sellable musical format…