East of Eden's debut LP is one of the hardest-rocking albums to come out of the progressive rock movement, and maybe the best non-Rolling Stones albums issued by English Decca label during the late 1960s. It's also one of the most daring debut albums of its period, less tightly focused than, say, King Crimson's Court of the Crimson King, but otherwise equally bold and maybe more challenging. The whole record is eerie - coming from a pop culture where most psychedelic rock tended toward the light and airy - East of Eden use high-impact bass, drum, and guitar parts mixed with the distinctly Oriental and Central/Eastern European classical influences. The first track is a surprise coming from any British psychedelic band of the period, opening with a pounding heavy metal beat pumped out on Steve York's bass and Dave Dufort's drums, while Dave Arbus' electric violin subs for what would normally be the rhythm guitar part…

In 2013, Future was re-released on the Big Beats label featuring outtakes, alternate versions, and extensive liner notes by Alec Palao.
Though the Seeds' third album, 1967's Future, was pegged by critics as the band's attempt to ride the wave of baroque/psychedelic/orchestral magic the Beatles defined with Sgt. Pepper's, the recording was actually complete before the release of the Beatles' far more popular breakthrough album, making it impossible for the influence to touch the uncannily similarly minded flower power tones of Future. The Seeds had their own relatively huge smash with the raw high-pressure garage thumper "Pushin' Too Hard" the year before, and saw nothing wrong with recycling that tune's melody on more than a few songs on their first two albums…

Sal Salvador pays tributes to the jazz greats of his time - Charlie Parker, Dave Brubeck, Duke Ellington, and others - but also serves things up at a level that's very much his own bag too! The album's got a spare, stripped-down groove that really suits Salvador's guitar well - giving Sal plenty of room to craft these round, warm lines that are full of color and tonal depth - often with a sense of rhythm that makes things groove, even when moving slowly. The group has just the right sort of balance to fit the mood that Sal's going for - with Eddie Costa on piano and vibes, Frank Dallas on bass, and Ronnie Free on drums. Titles include "Manteca", "Ruby My Dear", "Yardbird Suite", "Cool Eyes", "Taps Miller", and "Solos For Guitar".

These eight CDs contain fourteen original albums from Epic Records plus the Greatest Hits CD. Extensive liner notes detailing Bobby Vinton's career are featured along with a gold-plated deluxe black lacquer case. Collectables. 2002.

Cuban-born percussionist Pedrito Martinez is an acclaimed musician who plays a dynamic mix of traditional Cuban rumba, Afro-Latin jazz, and Spanish flamenco music. Martinez initially grabbed attention after moving to New York in the late '90s and playing with the Yerba Buena collective, Claudia Acuña, Mark Weinstein, and others. He has also won praise for his solo work, including garnering a Grammy nomination for 2013's Pedrito Martinez Group.

The ever prolific Roine Stolt brings his Swedish prog-rock monolith the Flower Kings back into the studio for a double-disc outing created around the notion of existence. Light stuff, eh? It is, actually. For those who are wrapped tight in prog rock's knotty, twist-and-turn melodies, quick-change tempos, harmonic extensions, eloquent, guitar pathways that are only topped by keyboard excesses that display acumen and prowess, and glistening production - and production where it takes eight hours to get a guitar solo right in the studio - Paradox Hotel will seem a tad foreign, and perhaps even strange. While it certainly has many of prog's long-expected tropes - from eloquent expansive melodies that are more like suites than songs - and rhythmic variation, it also does something very different…

2350 Broadway (1993) is the first in a series recorded by Namlook and Tetsu Inoue. The first half is rather too short on tones and melody but the second disc, consisting of the 70-minute epic "Hands Of Light" is a masterful exercise in deep spacemusic. It's glacial pace varies only marginally between beatless and gently pulsed and its mix of electronic drones, wind effects and melodies is deceptively simple.
2350 Broadway 2 (1994) is a seminal, almost fabled release spanning two CDs and recorded by Namlook and Tetsu Inoue in real time (no pre- or post-production and no overdubs). Remarkably engaging for its simplicity, the set was subsequently reissued by popular demand and spawned a pair (and counting) of follow-ups in the series…

Goddess is the bold new musical project from Fay Milton, best known as the drummer of the acclaimed post-punk band Savages. Conceived during Savages' hiatus, Goddess emerged from Fay’s desire to step into a larger creative role—celebrating sisterhood, feminine energy, and the collaborative spirit of the London independent music scene.

Narrowing down the Grateful Dead's touring career and live performances to 60 CDs, 20 venues, and more than 450 songs is hard enough. Narrowing THAT down for 3CD and 6LP sets is a monumental undertaking, but with so much great music to select from, it's one of the most enjoyable compilations we've ever assembled. This nearly four hour collection contains one song (or two, or three…) from every show in the Dead's new road tripping boxed set, ENJOYING THE RIDE, which brings together music from 20 (21…) of the most essential venues in Grateful Dead and Dead Head history. This compilation is crafted with songs spanning the 25 years in the boxed set, 1969-1994. Drawn from such iconic venues as Red Rocks, Frost Amphitheatre, Greek Theatre, Fillmores East and West, Madison Square Garden, Alpine Valley, and many more, THE MUSIC NEVER STOPPED features such classics as "Truckin'," "Eyes Of The World," "Scarlet Begonias," the title track, and plenty of under the radar tracks like "Big Boy Pete," "My Brother Esau," and "Doin' That Rag." This is a career-defining live collection filled with some of the greatest tracks performed at their greatest venues. - David Lemieux

Sylvie Vartan Triple Best O est une compilation exhaustive retraçant la carrière de la légendaire icône de la pop française Sylvie Vartan, couvrant la période des années 1960 aux années 1980.

Firmly established as one of the world’s greatest violinists, Renaud Capuçon career both on the stage and as a recording artist has spanned a wide gamut of concerto repertoire, chamber music and recitals. Celebrating his 40th birthday this year (2016), Capuçon presents three world-premiere recordings of violin concertos written for and dedicated to him by three of today’s most exciting composers: Wolfgang Rihm, Pascal Dusapin and Bruno Mantovani - with the Orchestre de l'Opéra national de Paris, Wiener Symphoniker and Orchestre Philharmonique de Radio France under the conductors Myung-Whun Chung and Philippe Jordan.

1999 album from Britain's godfather of blues rock. 13 tracks, including 'White Line Fever' and 'Bad Dream Catcher'. Features guest appearances from John Lee Hooker, Ernie Watts and Coco Montoya.

"Greer is a highly accomplished player of the natural horn… I find Greer's playing very musicianly: unusually graceful in the phrasing of the quick movements, with gentle, thoughtful playing in K417 and some lovely smooth and clear lines in K495, while the slow movements are all beautifully done—the Romance of K447 refined and graceful, that of K495 often truly poetic with happy details of timing. And there is no shortage of wit in the finales, or of high spirits. Greer improvises his cadenzas: in the first movement of K495 he does, rightly I think, simply a longish flourish, with no reference to the themes of the movement." (Stanley Sadie, Gramophone Magazine)

Robert Cray always flirted with gritty Southern soul, but it wasn't until Sweet Potato Pie that he made a full-fledged soul-blues record in Memphis. Cray hasn't abandoned blues, but he's woven punchy horns and sexy rhythms into the mix, resulting in one of his stronger records of the '90s. The material remains a bit uneven, but his taste is impeccable – few blues guitarists are as succinct and memorable as he, and the soul settings of Sweet Potato Pie only confirm that fact.

This is the first album by young pianist Tyler Henderson (born in Oneonta, New York, USA in 2001), who is active in the New York scene and has been featured on recent works by Jacob Chung (ts) and Ilya Osadchuk (b) (as well as the first album by up-and-coming singer Kieran Brown, which will be released soon), leading a piano trio. The songs are half standards and half originals.