Excellent addition to any prog rock music collection
This is the last GENESIS' record that I can listen all the songs without being bored, except maybe "Follow You Follow Me", which was a big hit during those years.

Essential: a masterpiece of progressive rock music.
At the age of 13 prog rock was too complex for me, I couldn't bear the sound of YES, ELP and KING CRIMSON that I heard from the older brothers of some friends.

Essential: a masterpiece of progressive rock music
THE BEST OF THE BEST… "Cinema Show" reach the quintessence near the end.

Essential: a masterpiece of progressive rock music
Definitely NOT to be confused with the happy-slappy Genesis of the 1980’s by any means! Somewhere in the English countryside, circa 1970, 5 lads from a prestigious boarding school were hard at work in a small house (courtesy of gracious parents), recovering from wounds (namely having their debut album, From Genesis To Revelation flop and then nearly throwing in the towel altogether)and redoubling their creative efforts.

E Nomine (from the Latin In Nomine, "In The Name Of") is a German musical project, formed in 1999, by producers Christian Weller and Friedrich "Fritz" Graner. Their music, which they call monumental dance, is an unusual combination of trance, techno, and vocals which closely resemble Gregorian singing and chanting. Other vocals are performed by German voice actors such as long-time collaborators Christian Brückner and Rolf Schult. The primary languages in the songs are German and Latin.

Real good and and various relaxing program of chillout music. Four groups are playing chillout typical electronical synthesizer sounds with and without lyrics but also good guitar music…

A trailblazing force behind the evolution of the contemporary gospel sound, Edwin Hawkins was best known for his 1969 classic "Oh Happy Day," one of the biggest gospel hits of all time and a major pop radio smash as well. Born in Oakland, California in 1943, he began singing in his church youth choir while still a toddler, and by age five was playing piano; just two years later, he assumed full-time piano accompaniment duties for the family gospel group, making their recorded debut in 1957. A decade later, Hawkins and Betty Watson co-founded the Northern California State Youth Choir, drawing on the finest soloists from throughout the Bay Area to build the 50-member ensemble, which soon entered the studio to cut the 1968 LP Let Us Go into the House of the Lord, its modern, R&B-influenced production pointing the way to a new era in gospel recording.

Recorded in 1968 and 1969, this record is by far the best way to get to know, love, and appreciate Eubie Blake, master of ragtime and gorgeous melodies. The taproot of jazz runs directly from Blake's generation up through all of those Eastern Seaboard ticklers, most significantly James P. Johnson and the school of what critics and historians have labeled Harlem stride piano. While his early historical recordings are wonderfully authentic, there exists no finer example of Eubie Blake on record than this double LP, covered with photos and informative liner notes and packed with Blake's incredibly dexterous performances. During his comeback as an aged wonder, there was a tendency for the public to regard him as little more than an entertaining curiosity.

With a penchant for theatrical indie anthems, Montreal’s Arcade Fire has amassed a broad international following without compromising its restless artistic vision. For the follow-up to 2010’s GRAMMY®-winning release The Suburbs, the band enlisted the production skills of LCD Soundsystem mastermind James Murphy. At more than seven minutes long, the title track’s hypnotic, futuristic disco groove demonstrates a sparkling chemistry to start AF’s fourth studio endeavor: a double album in concept and in length. Shades of Roxy Music, David Bowie (who’s a fan and lent a vocal to the title track), and Talking Heads continue to color the established Arcade Fire sounds.