The 6th studio album from Steel Panther. From the opening synth intro of "Never Too Late (To Get Some Pussy Tonight)" to the thunderous outro of "Sleeping On The Rollaway", Steel Panther is back with the infectious riffs, pounding drums, unforgettable vocals alongside the witty humor that has earned them a global audience. Songs like "On Your Instagram", "Magical Vagina" and "One Pump Chump" are sure to fit in on the biggest live stages next to the band's most memorable songs. "1987" is an incredible retro look at that unforgettable year and the band even slows things down on the reflective "Ain't Dead Yet". 2023 release from the heavy metal jokesters. Includes "Never Too Late (To Get Some P* Tonight)", "One Pump Chump", and more.

Italy's Måneskin make their bid for global pop domination with their third album, 2023's pulse-pounding Rush! While they sound like a sleazy garage rock band from New York circa the early aughts, they are best known for winning the Eurovision Song Contest 2021 for Italy with the song "Zitti e buoni." Prior to that, they teed up their breakthrough Eurovision run with a second-place finish on Italy's X Factor in 2017. All of which is to say that, while they can really and truly rock (devil horns and all), Måneskin aren't afraid to play in the tasteless, campy machinery of the modern pop landscape. In fact, on Rush! they explicitly frame themselves within a sleazy, globe-trotting world of decadent partying, sexy models, and raw overindulgence – all delivered with a kohl-eyed wink and a firm tongue in cheek.

Easily the best album the group ever recorded, Nicely Out Of Tune is one of the prettiest folk-rock albums of the late 1960s. If Lindisfarne had never recorded anything else, they'd be one of the most fondly remembered acts of their era just for this album. "Lady Eleanor" is a very pretty tune that manages to incorporate elegant mandolin over some heavy rock riffing. "Road To Kingdom Come" is closer in spirit to the group's usual pub-rock sound, a singalong-type number with lots of really crunchy harmonica, mandolin, and fiddle, and a really catchy chorus – "Jackhammer Blues" is pretty nearly as good a rocker. But "Winter Song" is one of the gentlest, most haunting folk ballads of its period, almost too pretty to have come from a rock band, and "Alan In The River With Flowers" isn't far behind. The rest is in the same class and league, and as a bonus the CD contains two lost B-sides, "Knackers Yard Blues" and "Nothing But The Marvelous Is Beautiful" – they're not bad, either.

Like its predecessor (similarly designed right down to the traffic cone cover, though green instead of red), Kraftwerk 2 has never been properly re-released, giving it the same lost-classic aura as the first album, or at least lost, period. Thankfully, bootleg reissues in 1993 restored it to wider public listening; even more so than Kraftwerk 1, its lack of official reappearance is a mystery, in that the band is clearly well on its way to the later Kraftwerk sound of fame. Stripped down to the Hütter/Schneider duo for this release, and again working with Conrad Plank as coproducer and engineer (this album alone demonstrates his ability to create performances combining technological precision and warmth), Kraftwerk here start exploring the possibilities of keyboards and electronic percussion in detail. Given that the band's drummers were gone, such a shift was already in the wind, but it's the enthusiastic grappling with drum machines and their possibilities that makes Kraftwerk 2 noteworthy.

Following the release of 2021's ambitious studio album "The Absolute Universe", progressive-rock supergroup Transatlantic present "The Final Flight: Live At L'Olympia". A document of the bands triumphant show in Paris, the last night of their tour in support of their most recent studio album, it sees Neal Morse, Mike Portnoy, Roine Stolt & Pete Trewavas (along with Ted Leonard) performing the entirety of "The Absolute Universe (The Ultimate Version)", before returning to the stage to perform some of their extensive back catalogue. A night as special as they come, this document presents the band at their most majestic.

John Taverner (1490-1545) and William Byrd (1540-1623) born a generation apart, both hailed from Lincolnshire, and left a collection of choral works that rank (with that of Thomas Tallis) as some of the finest of its age, or indeed any other. Both men worked in turbulent times, the older Taverner grew up during the reign of Henry VII, and became Informator Choristarum at Cardinal College, Oxford, Cardinal Wolsey's new college in the university. Here Taverner recruited 16 boys and 12 men for the choir.

Au moment de cet enregistrement, au début des années quatre-vingt, Sir Georg Solti était encore tout auréolé du prestige d'une précédente interprétation du Bal masqué réalisée en 33 tours. Plus encore que dans la première mouture, le chef d'origine hongroise exacerbe ici la violence du drame, poussant tous les personnages vers leur destin, dans un souffle épique d'une rare intensité. Une distribution quasiment idéale fait face au chef : un Pavarotti de la grande époque, un Bruson idiomatique et une Christa Ludwig d'une ardeur insoupçonnée.

Bruce Springsteen has always been steeped in mainstream pop/rock music, using it as a vocabulary for what he wanted to say about weightier matters. And he has always written generic pop as well, though he's usually given the results away to performers like Southside Johnny and Gary "U.S." Bonds. Sometimes, those songs have been hits - think of the Pointer Sisters' "Fire" or Bonds' "This Little Girl Is Mine." Occasionally, Springsteen has used such material here and there on his own albums; some of it can be found on The River, for example. But Human Touch was the first Bruce Springsteen album to consist entirely of this kind of minor genre material, material he seems capable of turning out endlessly and effortlessly - the point of "I Wish I Were Blind" is that the singer doesn't want to see, now that his baby has left him; "57 Channels (And Nothin' On)" is about TV…

In his powerfully insightful book of blues-inspired poetry Fattening Frogs for Snakes - Delta Sound Suite, John Sinclair cites blues and jazz scholar Robert Palmer as a source for the theory that the linguistic taproots of the word "boogie" probably reach back to West Africa, as the Hausa "buga" and the Mandingo "bug" both mean "to beat" as in "to beat a drum." This makes sense given the rhythmic potency of boogie-woogie, a style that emerged during the early 20th century among Southern black laborers who lived, toiled, and partied near the very bottom of the U.S. social hierarchy, usually living in an environment that was secluded from the rest of the population and often engaging in the production of turpentine…

When Mal Waldron died in 2002, he was known to most jazz fans as Billie Holiday's final accompanist, and the composer of the standards "Soul Eyes," "Left Alone," and "Straight Ahead," the latter with Abbey Lincoln. His most significant leader date was 1961's The Quest, with Eric Dolphy and Booker Ervin on Prestige, where he served as house pianist. After suffering a total breakdown following a near-fatal heroin overdose in 1963, he was forced to relearn the piano. He left for Europe in early 1966, and his "second life" began. Waldron's many solo recordings, beginning with 1966's All Alone, are tantamount to the creation of a different jazz language. Its traits were angular, quizzical repetitive left-hand vamps and chords, underscored and appended by inquisitive harmonic inquiries on the right, drawn chiefly from the blues but also the jazz tradition and classical music from Chopin to Schoenberg…

Heinichen's Dresden Concertos created quite a stir when they were first released a couple of years ago, and for good reason. This is vital, colorful music scored for a large and varied ensemble. Like most composers of his day, Heinichen spent the majority of his compositional talent in the service of vocal music, for either the opera house or church. These pieces represent his only surviving set of concertos, and anyone who enjoys, for example, Bach's Brandenburg Concertos or the orchestral works of Zelenka will certainly want to hear these as well. These performances are simply the last word in style and virtuosity.