At the beginning of this set Oscar Peterson so overwhelms the normally gentle "Tristeza" that it almost becomes a parody. Fortunately, the remainder of the bossa nova-flavored LP is more tasteful. Even if Peterson is overly hyper in spots, he is able to bring out the beauty of such songs as George Gershwin's "Porgy," Antonio Carlos Jobim's "Trieste," and "Watch What Happens," in addition to stomping through the straight-ahead "You Stepped out of a Dream."

AC/DC, for most intents and purposes, fell apart after the release of Rock or Bust in 2014, so it's a relief to hear Power Up and discover that AC/DC still sound like AC/DC: thick, powerhouse chords and rhythms battle and groove with Brian Johnson, who shrieks for pleasure, not attention. That sense of relief never dissipates as Power Up offers song after song that firmly hit their target, adding up to an album that delivers reliable thrills. Considering how AC/DC have rarely strayed from the blueprints they scribbled back in the days of Bon Scott, this may not seem to be a newsworthy event, but considering how the group got mired in a spell of bad fortune in the mid-2010s, this amounts to a minor miracle.

Guanipa King Band was born in 2017 as a personal project by Guanipa King to stage blues rock in Spanish, mainly with his own songs. Jorge Hidalgo joined on drums and Fabio Pérez on bass. Together we give shape to this project and as a result comes the publication in 2018 of the first album “El Camino más Difficult”, self-produced, which gathers the spirit of the group in a variety of themes ranging from blues, r & blues, r & roll , folk or rock.
We fill the stage with an elegant performance without fanfare, as well as dynamic, in which the audience plays a very important role.

WEREWOLF RECORDS is proud to present the long-awaited debut album of Finland's YMIR. YMIR's history stretches back to the late '90s. The band originally existed as a trio of vocalist/guitarist Vrasjarn, later of funeral doomlords Profetus; drummer Lord Sargofagian, who concurrently founded the prolific Baptism; and lead guitarist Toni Pölkki. With this lineup, YMIR released the Trollsword demo in 1999, mystical black metal firmly (and favorably) of its time. Seven more years would follow before another recording came from YMIR, as the brothers Vrasjarn and Lord Sargofagian were busy with the aforementioned bands (and many others), but the Silvery Howling demo at last arrived in 2006, courtesy of WEREWOLF, and saw the band scaled back to a duo and evincing a rawer, nastier sound whilst retaining the sweet stench of the '90s. But from the past comes the storms…of icy…….

After releasing My Midnight Things (his fifth Top 200 Billboard release) to critical acclaim in 2018, Lizzy Borden has been touring in support of it, joining the likes of Demons & Wizards and Týr on the road in North America last year, plus performing at stages around the world. Now, Lizzy Borden has announced a new greatest hits collection for fans: Best of Lizzy Borden, Vol. 2. Available digitally on November 13th, Best of Lizzy Borden, Vol. 2 picks up where 1994's Best of Lizzy Borden leaves off, containing 12 tracks that showcase the Deal with the Devil (2000), Appointment with Death (2007) and My Midnight Things (2018) albums. Additionally, the collection features 2 new cover songs recorded in the summer of 2020 (the first recordings by Lizzy's latest live show line-up!): Blue Oyster Cult's "Burnin’ for You" and The Ramones' "Pet Sematary" - both mixed by Jay Ruston (Anthrax, Steel Panther, Stone Sour).

Composer John Luther Adams is one of today’s most original voices, often finding a common ground between nature and music, as in his deftly sculpted, Pulitzer Prize-winning orchestral soundscape Become Ocean. In Everything that Rises, written for the JACK Quartet, Adams sets his four musicians on an ever-upward hour-long trajectory as they journey towards, and dissolve into, eternity. The work makes use of both complex harmonics and “just intonation,” a tuning system whose intervals are rooted in earth, corresponding with the vibrations found in everyday physical objects. The resulting sense of timelessness is both unsettling and mesmerizingly beautiful.

Digitally remastered and expanded edition including six bonus tracks. Memphis during the 70s was a hot bed of musical talent. Sure, it's blues and R&B roots had always been proudly on display, but with the explosion of FM radio, bigger live venues, and the establishment of a renowned studio (Ardent), the city seemed to be providing it's home grown musicians with an opportunity to set the world on fire. None of these possibilities were lost on Target, a cabal of tough rockers keen to stamp their identity on the local scene and beyond. Riding a wave of creativity and seeking to maximize their already solid reputation as a band to watch, Target took the recording of this, their second album, with an impressive sense of purpose.

Los Van Van, another group which qualifies as an "institution" in itself and which has continued going strong even after the passing of Juan Formell. Somewhat surprisingly for socialist Cuba, the early music of Los Van Van is much more engaged with the psychedelic pop and rock sounds coming from the imperialist countries of the U.S. and England than were in and around Latin New York and the diasporas of Puerto Rico or the Dominican Republic. In that sense Los Van Van could be compared to the Tropicália movement in Brazil, freely taking and digesting elements from across the musical spectrum. I'm more partial to their second album, which didn't come along until quite a few years after this debut - it has more of a soul and funk influence - but this record is still great even if it sounds more "dated" because of its paisley and baroque embellishments.

Tom Jones became one of the most popular vocalists to emerge from the British Invasion. Since the mid-'60s, Jones has sung nearly every form of popular music – pop, rock, show tunes, country, dance, and techno, he's sung it all. His actual style – a full-throated, robust baritone that had little regard for nuance and subtlety – never changed, he just sang over different backing tracks. On-stage, Jones played up his sexual appeal; it didn't matter whether he was in an unbuttoned shirt or a tuxedo, he always radiated a raw sexuality that earned him a large following of devoted female fans who frequently threw underwear on-stage. Jones' following never diminished over the decades; he was able to exploit trends, earning new fans while retaining his core following.

Trevor Dunn - Debutantes & Centipedes (1998) {BUZZ-Records ZZ76003}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 320 Mb | MP3 @320 -> 134 Mb
Full Artwork @ 300 dpi (jpg) -> 19 Mb | 5% repair rar
© 1998 BUZZ-Records | ZZ 76003
Jazz / Alternative / Experimental Rock / Avant-Garde Jazz / Post-Rock

As if Mr. Bungle and at least a half-dozen more other projects were not enough, avant-bassist Trevor Dunn now leads his own Trio Convulsant. This group mixes moody jazz with convulsive rock. Also in the trio is guitarist Adam Levy (Dan Hicks, Tracy Chapman, the Hot Club of San Francisco, etc.) and drummer Kenny Wollesen. This is a good album for people who like King Crimson and free jazz, for this album lies at the meeting point of hard, progressive rock and tough, jazz experimentalism.

Joe Newman - The Midgets (1956) {RCA–BMG 74321609872 rel 1998}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 118 Mb | MP3 @320 -> 81 Mb
Full Artwork @ 600 dpi (jpg) -> 66 Mb | 5% repair rar
© 1956, 1998 RCA / BMG Music | 74321609872
Jazz / Mainstream Jazz / Bop / Cool / Trumpet / Flute

The Midgets is an album by jazz trumpeter Joe Newman's Septet recorded in 1956 for the RCA Records subsidiary Vik label. Glossy Cover, Arranged by Ernie Wilkins, conducted by Joe Newman, Recorded at Webster Hall, New York City, July, 1956. Joe Newman on trumpet, Frank Wess on flute, Barry Galbraith on electric guitar, Freddie Green on rhythm guitar, Hank Jones on piano and organ, Eddie Jones on bass, and Osie Johnson on drums.