The Firm were a British rock supergroup composed of singer Paul Rodgers (Free and Bad Company), guitarist Jimmy Page (The Yardbirds and Led Zeppelin), drummer Chris Slade (Manfred Mann's Earth Band, Uriah Heep and AC/DC) and bass player Tony Franklin. Both Page and Rodgers refused to play any material from their former bands and instead opted for a selection of Firm songs plus tracks from both their solo albums. The new songs were heavily infused with a soulful and more commercially accessible sound, courtesy of Franklin's fretless bass guitar underpinning an understated song structure. Mean Business is the second and final studio album by The Firm, released by Atlantic Records on 3 February 1986.

Lloyd Cole's second solo album, 1991's Don't Get Weird on Me, Babe, was about a half-decade ahead of its time. If it had come out in 1996, after Richard Davies' Cardinal project, the High Llamas' Gideon Gaye, and the new belief in indie circles that Pet Sounds and Burt Bacharach were musical icons worthy of veneration, this would have slotted right in. In the year bracketed by My Bloody Valentine's Loveless and Nirvana's Nevermind, Don't Get Weird on Me, Babe (title courtesy of Raymond Carver) was considered a self-indulgent oddity. In retrospect, however, it's clearly one of Lloyd Cole's finest works.

Performing traditional Japanese music on traditional instruments, Yamato Ensemble honours the legacy of Myoonten, the Japanese goddess of music, art, of everything that flows, and of wonderful sounds. Yamato Ensemble have been playing together for decades; on this special recording, they perform on koto, shakuhachi, jushichigen, shakuroku, and the now-rarely heard kokyu. graceful and supple musicianship.

Still Got the Blues is a 1990 album by guitarist Gary Moore. Prior to this album Moore's work had consisted of predominantly jazz-fusion with Colosseum II and rock and hard rock styles, including his work with Skid Row, Thin Lizzy, G-Force, as well as a large repertoire of solo work. This album, as evidenced by its title, was a departure from hard rock to an electric blues style. Still Got the Blues was assisted by contributions from Albert King, Albert Collins and George Harrison. The title track was released on the single format and reached No. 97 on the Billboard Hot 100 on 16 February 1991. It was the only single of Moore's to chart in the Billboard Hot 100. The album reached No. 83 on the Billboard 200 on 16 February 1991, then was certified gold on November 1995. This was the most successful album both in sales and chart positions from Gary Moore in the US.

Recorded live at The Pershing Lounge, January 16 & 17, 1958. 24-bit digitally remastered.
On January 16 and 17, 1958 pianist Ahmad Jamal, bassist Israel Crosby and drummer Vernell Fournier shared their elegant, intimate and supremely well-crafted jazz with the audience at the Pershing Lounge inside Chicago's Pershing Hotel, a venerable institution located on East 64th Street, west of South Cottage Grove Avenue. Nearly half-a-century later, Gambit Records issued all 19 tracks from the Pershing engagements on one CD, bringing before the public a body of work that two generations of jazz heads had gathered piecemeal on Argo and Chess LPs or various partial CD reissues. Tacked on to this historical edition is an edited version of "Poinciana," released as a single after it became apparent that it had hit potential. A humorous moment occurred when the trio launched into a rapid rendition of "Music Music Music," a pop hit borrowed from perky Teresa Brewer. Ahmad Jamal transformed each familiar melody into a sculpted ritual of improvisation, conducted with brilliant precision and immaculate ease.

This surprisingly consistent collection of unreleased material compiles a series of demos and outtakes recorded by Ken Hensley, a singer and songwriter best known for his work with Uriah Heep, between 1971 and 1982. Odds and sods compilations are often a dicey proposition, but From Time to Time manages to beat the odds with an effective combination of polished songcraft and inspired performances: The studio outtakes all boast fully realized productions (some even including a string section) and the demos aspire to studio quality thanks to tight arrangements that often differ from the released versions ("If I Had the Time" forsakes the space rock excesses of the Uriah Heep version for a lovely, country-flavored mid-tempo pace).

2017 album from the German prog rockers. The Vision, The Sword and the Pyre is a rock opera about Joan of Arc. Composed, directed and produced by Frank Bornemann, the work is dedicated to the life and acts of the late Middle Age French heroine Joan of Arc, canonised in 1920, and combines unique musical complexity with absolute and unbiased historical precision. Eloy aside, Frank Bornemann is an acclaimed supervisor and producer of well-known bands of different musical stripes (including Scorpions, Guano Apes and Revolverheld).

Il più grande evento musicale italiano di sempre a sostegno della lotta contro la violenza sulle donne. 2 CD e un DVD che raccontano questo straordinario concerto, disponibili in edizione standard o deluxe. The biggest Italian music event ever that support the struggle against the violence on the women. 2 CD and a DVD that explain this amazing concert, available on standard or deluxe edition.

The album "Thelonious Monk Nonet - Liederhalle, Mainz, Germany November 8, 1967 (Live Restauración 2022)" features a live performance by Thelonious Monk and his ensemble at the Liederhalle in Mainz, Germany, on November 8, 1967. This concert is notable for Monk's unique approach to jazz and includes tracks like "Ruby, My Dear," "Don't Blame Me," "Rhythm-A-Ning," "Straight, No Chaser," and "Evidence."

In response to the 2004 debut album, which became an instant classic, Marc Collin and Olivier Libaux experimented with various musical paths. Many songs are thus recorded. The songs that are relevant to each album's theme are released. But many covers would remain under wraps, while others, although ready for release, were relegated to the vaults. These previously unreleased recordings are featured on "Curiosities". 2004 - 2019. For the last fifteen years, Nouvelle Vague has been resuscitating, sometimes introducing, dozens of songs from the New Wave and Punk repertoires – some quite well known, others almost forgotten. But the story is far from over.

Former Uriah Heep, Gary Moore Band, and Lone Star frontman John Sloman releases a fascinating video for his new single This River Is A Time Machine taken from his upcoming new solo album Two Rivers released on the Red Steel Music label. Gifted with a multi-octave vocal range and also a multi-instrumentalist musician, John Sloman is a renaissance man with a singular musical vision brought to mesmeric life on his magnificent new solo album Two Rivers. As a personal record, Two Rivers documents John's journey from his childhood home city of Cardiff to treading the well-beaten path to London and his encounters in the music business fronting major headline bands.

Éternel jeune premier, Gérard Philipe est l’une des plus grandes vedettes du théâtre et du cinéma français de l’après-guerre. Ce coffret 3 CD réalisé par Jean-Baptiste Mersiol regroupe un savoureux corpus de grands textes littéraires, poétiques ou politiques, qui vont de La Fontaine à Marx, lus par le comédien. Sa diction remarquable, son charisme comme sa tendresse, ont fait de Gérard Philipe l’une des voix incontournables du patrimoine sonore francophone à laquelle cette anthologie sonore rend formidablement hommage. Patrick FRÉMEAUX

The follow-up to 2015’s ‘Bahdeni Nami,’ ‘To Syria, With Love’ marks Souleyman’s third full-length studio record. It’s a departure musically and lyrically from his previous material, with focus on more elaborate keyboard and techno elements. Completely setting politics aside, Souleyman consciously shares this personal ode to his native country with an emphasis on his emotional connection to the land and people but not without heartache in view of the nation’s current state.

After independently leaving The Spencer Davis Group in late 1968, organist and singer Eddie Hardin and drummer Pete York got back together a few months later to work as that most intriguing of late Sixties rock music concepts: the power duo.
Self-described as “the world's smallest big band”, Hardin & York's two-man brand of rock, blues, jazz and soul – not a million miles away from the likes of Traffic or Procol Harum - was hugely popular on the Continent. Indeed, they had such a following in Germany that one show was surreptitiously taped, becoming one of the earliest European vinyl bootlegs when it was sneaked out in 1970.
Naturally enough, that live set is included on our definitive 6-CD anthology, together with further live performances (including a 1972 show for the BBC now gaining its first-ever commercial release), their trio of 1969-71 albums, various studio out-takes and even a non-UK 1974 reunion LP that was recorded with former Taste bassist Charlie McCracken. A 6-CD package, Can't Keep A Good Man Down is the final word on one of the most intriguing musical partnerships of the late Sixties/early Seventies. Housed in a stylish clamshell box, it includes a 24-page booklet with rare photos, a new 4000 word essay on the duo as well as a scene-setting foreword by Pete York.

…There's no such thing as having too many recordings of Alessandro Scarlatti cantatas. Presented here are five cantatas for soprano on the theme of the pain of love, three for basso continuo only, one with b.c. and flute, and one with b.c., violin and flute. Two harpsichord improvisations and an adagio from a toccata of 1723 act as sinfonias of sorts for three of the works - only one has its own original introductory sonata.