A master of the traditional and the progressive, the styles of the past and the bright, swinging future, Eddie Palmieri is one of the most influential Latino pianists of the 20th century. His extreme versatility and artistic vision are brilliantly displayed on The Sun of Latin Music. While most Latin jazz musicians fall into either staunch traditionalism or pursuing progressive ideas to the detriment of groove and accessibility; Palmieri marries both ideals effortlessly. With smooth, danceable rhythm, lush vocals, and a clear center to the song, combined with sophisticated arrangements, tunes like "Desea Salvaje" and "Nunca Contigo" both swing the dancer and captivate the discriminating listener. Palmieri's interest in stylistic variety, including styles like danzon, guaguanco, and cumbia, not common of '70s era salsa, enrich the album and show off his versatility…

Recorded in the midst of 1966, naturally after the spring release of their debut but before "Pushin' Too Hard" climbed into the national charts in the spring of 1967, A Web of Sound finds the Seeds pushing their sound into new dimensions, happily keeping pace with their Los Angeles contemporaries Love and the Doors. That the Seeds never received the respect accorded to their peers, either then or now, may be partially due to their lack of lyrical ambition, or it could be due to the Hollywood teenage sleaze that seeped out of this quartet led by garage rock icon Sky Saxon. Whatever the Seeds did, it sounded somewhat dirty, a maxim that applies to A Web of Sound even if it lacks singles as hard and filthy as "Pushin' Too Hard"…

Released at the tail end of the '60s, Hot Buttered Soul set the precedent for how soul would evolve in the early '70s, simultaneously establishing Isaac Hayes and the Bar-Kays as major forces within black music. Though not quite as definitive as Black Moses or as well-known as Shaft, Hot Buttered Soul remains an undeniably seminal record; it stretched its songs far beyond the traditional three-to-four-minute industry norm, featured long instrumental stretches where the Bar-Kays stole the spotlight, and it introduced a new, iconic persona for soul with Hayes' tough yet sensual image. With the release of this album, Motown suddenly seemed manufactured and James Brown a bit too theatrical. Surprising many, the album features only four songs…

The Crematory hit factory opens its doors for the 17th time with its new studio album “Destination” and reaches a new, even higher level than before! It's an album that literally combines all the strengths and phases of the gothic metal pioneers, going back to their melodic death metal roots in places, then diving deep into the gothic realm again and surprising with some electro dancefloor bangers. “Destination” is like a musical best-of album, a return to the past combined with the strengths of the present. One thing is clear: Crematory are highly motivated, are upping the ante and definitely still have a lot to say even after 34 years of successful band history! With “Destination” in the bag, anything is possible - the road to success points straight ahead.

Phaedra is one of the most important, artistic, and exciting works in the history of electronic music, a brilliant and compelling summation of Tangerine Dream's early avant-space direction balanced with the synthesizer/sequencer technology just beginning to gain a foothold in nonacademic circles. The result is best heard on the 15-minute title track, unparalleled before or since for its depth of sound and vision. Given focus by the arpeggiated trance that drifts in and out of the mix, the track progresses through several passages including a few surprisingly melodic keyboard lines and an assortment of eerie Moog and Mellotron effects, gaseous explosions, and windy sirens. Despite the impending chaos, the track sounds more like a carefully composed classical work than an unrestrained piece of noise…

Robert Randolph is one of the rare artists who's been able to convince a sizable audience that the pedal steel guitar has a place outside country music. This is partly due to his over-the-top skills on the instrument, but just as importantly, Randolph and his Family Band have consistently shown their ability to launch a soul shakedown party of major proportions whenever they take the stage or set up in the studio. 2017's Got Soul, Randolph's fifth studio album, seems designed to capture the energy and power of Randolph and his band in full flight, and producer Matt Pierson has gone out of his way to give this material a big, rollicking sound that makes the most of the muscle and sweat of this music. While the tough, funky report of the rhythm section and the call of the organ provide the backbone of these songs, it's Randolph's pedal steel that gives Got Soul its unique sound, as the wailing peals of his instrument tear through the mix and lend this as much of a vocal presence as any instrumentalist can provide. While vintage soul and funk figures play a big role in these arrangements, Randolph's background in gospel is never entirely out of the picture, and there's a churchy passion at the heart of this music that adds plenty to the emotional resonance, especially on tracks like "Be the Change" and "Heaven's Calling".

Teaming with legendary Beatles obsessive Jeff Lynne, George Harrison crafted a remarkably consistent and polished comeback effort with Cloud Nine. Lynne adds a glossy production, reminiscent of ELO, but what is even more noticeable is that he's reined in Harrison's indulgences, keeping the focus on a set of 11 snappy pop/rock numbers. The consistency of the songs remains uneven, but the best moments – "Devil's Radio," "Cloud 9," "Just for Today," "Got My Mind Set on You," and the tongue-in-cheek Beatles pastiche "When We Was Fab" – make Cloud Nine one of his very best albums.

The most beautiful arias from the Vivaldi Edition: Orlando Furioso, Atenaide, Farnace, Teuzzone, Armida, La Fida Ninfa, Orlando 1714, Griselda, Ottone in villa and much more. The album includes outstanding singers and arias that were sensational discoveries when first introduced in this series.

In 1680, Dietrich Buxtehude sent his friend Gustav Düben the score of Membra Jesu nostri. In this perfectly balanced work, he addresses the senses directly, immersing us in the sufferings of Christ: we feel the hammer blows, the heart that stops beating…

“What seems to me to be Mendelssohn’s principal quality is his crystalline clarity. (…) It makes him one of the great composers of religious music. In the direct line of the great predecessors he admired so much, it made it possible for him to efface himself before the divine word and to set it to music with all necessary humility. This is what constitutes the force of the music on this recording.” – Philippe Herreweghe