Freddie Mercury Remixes - 6-track CD includes Living On My Own [Extended Mix and Roger S Mix], Time [Nile Rodgers 1992 Remix], Love Kills [Wolf Euro Mix], The Great Pretender [Malouf Mix] & My Love Is Dangerous [Lord-Alge Mix].

Camel At The Royal Albert Hall celebrates Camel's superb Moonmadness 2018 tour. Universally acclaimed by everyone that saw it, the RAH concert was the pinnacle of the tour. With the line-up of Andrew Latimer (guitar/flute/vocals), Colin Bass (bass/vocals), Denis Clement (drums) and Pete Jones (keyboards/vocals), this is Camel at their best.

Duotones is the fourth studio album by saxophonist Kenny G. It was released by Arista Records in 1986, and peaked at number one on the Contemporary Jazz Albums chart, number five on the Jazz Albums chart, number six on the Billboard 200 and number eight on the R&B/Hip-Hop Albums chart. The album was certified Platinum by the RIAA. April 2011 8x platinum RIAA sold 28 million internationally. This is the album that put Kenny G over the top, the one that made him a capitol-S star. With DUOTONES, Kenny G finally found the right recipe for his mellow stew of smooth jazz, R&B, and pop. DUOTONES is both easygoing and moody, breezy and cinematic, soulful and schmaltzy, peppy and chill-out music. On this disc, G lowers the R&B quotient a little, and adds some vocalists to the mix (such as the fine Lenny Williams, formerly of Tower Of Power).

Light as a Feather is simply the first version, a little over half of what would become Azymuth's fine Outubro album. It opens with the weakest cut, the ten-plus minute faux disco "Jazz Carnival," with awful drum effects and popping, funky-yet cliched basslines by Alex Malheiros. After this there is much to like, however, in the breezy execution of the title track that is nearly as beautiful as Return to Forever's, and features a fine jazz-samba number that evokes both Walter Wanderley and Tom Jobim in Jose Roberto Bertrami's "Fly Over the Horizon," as well as a beautiful version of Toninho Horta's "Dona Olimpia."

All Your Life may be the loveliest album Al Di Meola has ever done. His affection for the Beatles material that comprises the album was no doubt amplified by recording at Abbey Road Studios where the iconic foursome did the bulk of their work. In producing this tribute to the Beatles, Di Mieola remains true to his previous recorded efforts by working in the acoustic vein within which his flamenco skills allow him to find nuance in melodies like that of “In My Live” and “And I Love Her.” Yet however much he embroiders upon the melody and rhythm at the heart of such great songs, all selections are almost immediately recognizable and Di Meola never succumbs to technique for its own sake. In fact, it’s only in the wordy essay inside the digi-pak where he overstates his enthusiasm for his subjects.

Al di Meola's first so-called Christmas album is a relaxed, flowing, intensely musical affair that jazzers, world music buffs, and new agers will feel equally comfortable with. Mostly, he steers away from the often-cracked chestnuts, composing several nice tunes of his own ("Zima," the leadoff cut, is especially inviting), playing acoustic guitar and a battery of percussion instruments and keyboards in a graceful one-man band, thanks to multi-track tape. Other tracks feature duets between di Meola (with overdubbed additional instruments) and Roman Hrynkiv, who plays a Ukrainian zither-like instrument called the bandura.

Following the demise of the legendary Blossom Toes in December ’69, guitarist Brian Godding and bassist Brian Belshaw backed vocalist Julie Driscoll at two London concerts in early 1970, along with drummer Barry Jenkins. The second of these concerts took place at The Roundhouse on 27th February 1970. A highlight of the performance was a rendition of Godding’s rousing composition ‘New Day’, a song recorded by Blossom Toes but sadly not released.
The concert was enthusiastically reviewed by the underground press prompting the event organiser, Peter Swales, to propose the band re-record ‘New Day’. By this time Jenkins had departed and so former Blossom Toes drummer Kevin Westlake stepped in. Recording sessions took place at Olympic Studios with guest contributions from musicians such as Driscoll, Mick Taylor and Brian Auger along with jazz musicians Marc Charig and Nick Evans…

My Kantele is a follow-up to Amorphis' excellent Elegy. Elegy was an album that worked as a culmination point between death metal and progressive metal, and opened all doors in the rock world for Amorphis. My Kantele doesn't contain anything very new and special; actually, it seems that all four previously unreleased tracks are just leftovers from Elegy. That isn't a bad thing at all - the new songs work well enough and of course these kinds of packages are gold for fans. The most interesting songs on the EP are the covers, Hawkwind's "Levitation" and Kingston Wall's "And I Hear You Call." Amorphis covered "Levitation" very, very well - but unfortunately they copied Kingston Wall's arrangement of the excellent "And I Hear You Call," so it doesn't offer a lot.