By ignoring the band's first two albums, the Roy Wood-dominated Electric Light Orchestra and the transitional ELO II, the 1979 singles compilation ELO's Greatest Hits presents a somewhat skewed vision of the band. Ironically, this revision has become the normative view of the band: slick, almost mechanical purveyors of undeniably catchy but somewhat soulless hit singles. "Evil Woman," "Showdown," "Turn to Stone," "Telephone Line," "Strange Magic" – anyone who was anywhere near a radio in the latter half of the '70s knows them all by heart, whether they like them or not. But ELO's Greatest Hits does a far graver disservice to the Electric Light Orchestra's oeuvre. For some reason, the original vinyl LP sounded somewhat muffled and distant, as if the EQ was perceptibly off. The result is that while this is otherwise a fine survey of Jeff Lynne's most successful – if not necessarily his best – songs, it just doesn't sound very good.

Japan has produced some exceptionally talented jazz drummers and among them is Tatsuya Nakamura, who joins the BBE Music J Jazz Masterclass Series with his album ‘Locus’ from 1984, a session covering several bases, from heavy percussive samba to meditative avant-ambient. This is the album’s first ever reissue, although a track from ‘Locus’, ‘1⁄4 Samba’, was included on J Jazz vol. 3.

Braun's affection for the work of the masterful songwriter has now reached full bloom with Night And Day (The Cole Porter Songbook)- Adi Braun's love affair with the music of Cole Porter runs long and deep. The acclaimed Toronto jazz and cabaret chanteuse has long covered his tunes in her performances and on record. She describes the music of her favorite Great American Songbook writer as "delicious, a great combination of naughty, provocative, sensuous, witty and devastatingly beautiful.

Special limited gatefold CD packaging of this greatest hits collection from proto-glam rockers Sweet! Contains alternate mixes and rare versions of the band s biggest singles including Ballroom Blitz, Little Willy, Blockbuster! and more!

High Civilization is the nineteenth studio album by British pop group the Bee Gees, released on 25 March 1991 in the U.K., and 14 May 1991 in the U.S. It was their last album recorded for Warner Bros. Records, after a four-year contract (they would return to WB through subsidiary Reprise Records in 2006: after gaining the rights to their previously released material, they reissued each album through Reprise). Possibly in reaction to firm resistance from U.S. radio to the previous two albums, E.S.P. (1987) and One (1989), which had done well in other countries, the U.S.-based Warner Bros gave this one less promotion and did not issue remixes. They recorded this album and their next album Size Isn't Everything with engineer Femi Jiya.

Frantic manages to touch upon virtually every musical style of Bryan Ferry's career. Ferry has proved to be as interested in covering other artists' material as penning original songs, and he straddles a smart mix of originals and covers here. Two brilliant Bob Dylan songs appear among the opening tracks: "It's All Over Now Baby Blue" sees a return to the eclectic, energetic experimentation of Ferry's early albums with Roxy Music as a lush modern swirl of instruments mingles with the singer's stylized vocals and throwback harmonica; "Don't Think Twice It's Alright" completes the Dylan pair, as Ferry intones with confidence and again takes up harmonica over Colin Good's rolling piano.

Essentially the Allman Brothers Band's Gold collection is an expanded version of both the Universal Masters and 20th Century Masters collections. It contains two discs that total 30 cuts and cover the band's catalog from 1969's Allman Brothers Band to 1975's Enlightened Rogues. There are five cuts from the first album, including the original studio version of "Whipping Post," and four from Idlewild South, including the studio read of "Midnight Ride." The cuts from At Fillmore East number four with the inclusion of the 13-minute "In Memory of Elizabeth Reed," and five from Eat a Peach, including "Melissa," "Blue Sky," and "Ain't Wasting Time No More."

Blah-Blah-Blah is the seventh studio album by Iggy Pop. Originally released in October 1986, on the label A&M, it remains his most commercially successful album to date. Blah-Blah-Blah appeared after a four-year hiatus for Pop, with David Bowie serving as his prime collaborator. It would be their final collaboration. A successful tour followed the album's release.

In listening to the five years of the Brad Mehldau Trio represented in this box set, one hears the unfolding of a new and significant part of modern jazz history, as the end of the 1990s opened the door on the explosive creative renaissance of the music in the 21st century. Nonesuch has compiled the five releases in the Art of the Trio series, as well as an additional disc of unreleased recordings from the same period (1997-2001), offering a serious reconsideration of what has already been accepted as a "next step" for the jazz piano trio's history. On Vol. 1, Mehldau, bassist Larry Grenadier, and Spanish drummer Jorge Rossy intriguingly and seductively begin uttering the first sounds of their new language via Mehldau's originals, such as "Lament for Linus" and "Ron's Place"…

Five Bridges is a delectable representation of early-'70s progressive rock. Its makeup contains all of the elements needed to complete a solid prog album: a heavy intermingling of synthesizer and electric guitar, strong punctuation of both bass and drums, a central concept, and the fusing of rock and classical music, which in this case employs the Sinfonia of London. The eight tracks, centered around Newcastle's urban structure and life in a blue collar society, are as colorful as they are intricate. "Intermezzo" from Sibelius' Karelia Suite, and Tchaikovsky's "Pathetique" are marvelous examples of classical and rock commingling, with the spotlight focused on Keith Emerson's keyboard virtuosity…

The BoDeans may have to play second-fiddles to guitar great Les Paul as Waukesha, Wisconsin's favorite musical sons, but their rootsy, unpretentious rock & roll carved them a comfortable niche and loyal following from the late 1980s on. This 17-track anthology spans a decade of the band's history, eschewing strict historical chronology for a running order that's both more artistically interesting and listener friendly. Indeed, fully a third of the tracks issue from the band's 1995 live album Joe Dirt Car, a gambit that helps underscore their spare, straightforward musical charms. The twin talents of singer-songwriters Sammy Llanas and Kurt Neumann form the band's core, and the close harmonies of early hits "She's a Runaway" and "Fadeaway" set the band's tone, recalling rough-hewn takes on a vocal tradition that stretches back to the Everlys and Lennon-McCartney. But it's a collection that also reveals the band's range, from the U2-like drama of "You Don't Get Much" to the pop-savvy Party of Five theme "Closer to Free" and a passionate live take of "Feed the Fire" that recalls John Mellencamp at his best. –Jerry McCulley

Leaving To Nothing (1995). This album is truly authentic to the best of what was being recorded in the mid to late 1970s electronic scene. It's where rock meets electro. This recording is almost haunting. It's as if the talented musicians who recorded this album were transported through time and just started jamming. If you like Floyd, Parsons, Carlos, Tomita, Vangelis, Baumann, Tangerine Dream, or any of the other notables of that era…

Factory Benelux presents a remastered CD edition of Sextet, the second studio album by Manchester postpunk funk group A Certain Ratio, originally released by Factory Records in January 1982. Self-produced at Revolution Studio, Sextet saw the original Ratio quintet of Donald Johnson, Jeremy Kerr, Martin Moscrop, Simon Topping and Peter Terrell joined by co-vocalist Martha 'Tili' Tilson. Written and recorded following a transformative sojourn in New York at the end of 1980, the album reflects Latin, samba and even jazz influences (eg Skipscada; Day One), while still retaining Ratio's signature brittle funk textures, heard in full effect on Lucinda, Gum and trancelike floor filler Knife Slits Water.

Tropical Tribute to the Beatles is a tribute album of tropical artists released in 1996 by RMM Records (Ralph Mercado's record company), produced by Oscar Gomez (distributed by Bellaphon & Uni Distribution). Arrangements were made by Steve Roistein, and lyrics were adapted into Spanish by Jorge Córcega, who had previously adapted the lyrics of Salvatore Adamo.

Accomplice Two shares the same exuberance, diversity, and sense of adventure as the first album, with a great range of artists. This album features rock legends Michael McDonald, Jorma Kaukonen, and Little Feat; bluegrass superstars such as Billy Strings, The Del McCoury Band, Sam Bush, Jerry Douglas, Sierra Hull, and David Grisman; country icons such as Nitty Gritty Dirt Band, Jamey Johnson, and Raul Malo; and guitar heavyweights like Yasmin Williams, Larry Campbell, and Richard Smith.